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Ps aay 4 ie ae = — LIBRARY OF THE UNIVERSITY OF VIRGINIA FROM THE BOOKS OF BENNO JANSSEN ARCHITECToa ou? LA ae am Ue ene a WWye¥aea rr 4 , i | ud . y {% A, 5 y k } £ —_ rt = RARRIFIXCDR be wi, > a arene} fi { 5 pars J v7; weOn bt iheP Urata et Toe be tt Les Eo teak! Pe ot co = ar - tae 5 - Peek hie eee tibet Re LOE Bed probed bel tran desea Ts Os * . a wee “oe - ee ee ee fee eh deol bd ‘J red ners . 2a at ed Pe ber oan i jw erep ae Bi herb i ar = Neh Bee bd PL hat x CA eo * os 8 - a oy a, he eigen he hoe ia Ala entre kd ( rem a ke el Rat el eel ed Po ee ee Pee Ee Co eb Lo ine ers a ay Sa eee eS mea gi ang SA = aay er) — en De ee A ee i Sg he ra ata rahe, 3) a Sais . ee » fe ee hd has a. meen oe! Cd hee a! ba a al ie oA 9} + vo iy i : Car et PeeLiberty Bell Edition VOLUME XIII THE PAGEANT OF AMERICA A PICTORIAL HISTORY OF THE UNITED STATES RALPH HENRY GABRIEL EDITOR HENRY JONES FORD HARRY MORGAN AYRES ASSOCIATE EDITORS OLIVER McKEE ASSISTANT EDITOR CHARLES M. ANDREWS ALLEN JOHNSON HERBERT E. BOLTON WILLIAM BENNETT MUNRO IRVING N. COUNTRYMAN VICTOR H. PALTSITS WILLIAM E. DODD ARTHUR M. SCHLESINGER DIXON RYAN FOX NATHANIEL WRIGHT STEPHENSON ADVISORY EDITORS DAVID M. MATTESON INDEXER Se Lee ae ie LD ee Lo TIAN eS aeI he Liberty Bell Edition of ‘‘ The Pageant of America,’’ the first to be printed, 1s limited to 1,500 impressions on paper ex- pressly made for the work. . oT. to Aa bead poh da Die abted reir iio tek eel el ealiter Deb bere atte Pod ott Sete bt wy = , a Te HK . Bs i Rae - . oe ee ee ee * oe .-* aie “ - S Ps r xt Eb AP de Pe y a LP YY Penarth bted Veer biar anal Rat ea ee 4% Mine dabed Dae 2 = Pua” Pe teh eee ie been el oie re} SS ht SPR Pe Pe Pe POO Da, Oe = : ni ma v2 le rhe aha a Dalai Nahe aie ee ad ted hae tea a s . “4, = ¥ A * loz S e ee a ; * A 5 = =s 6 » (oe is TA Ee Pe RE 5" 25 4 as Aas Sk La a ae es es A o a ee 5 5 s S | - = a = +e —~ Ss better bee el et et bt gl Lents! Liter her th Sema peen 2 ee I i a aE al aR lato Shi Pe Die mee Bee te Pe ae et Le heh ee Meee eet Nadeee eab| PR reales ae e Paar seat eat tg =p eee pi a 4 oll A, a mi chy — oh dey tg ee aarp acte ertheless Ph motets Este te Ne ate eee - -— .= oe 7 & FAA ~ ~ I ae he oe y - = ey sf fe ats i 2 - Oe i — sa ee : & ale be a tach atta Le | &* ow ae * sel Lt . . A eee oe end = oe = 1Ly AVIS Fale ss ies - = eT Bor tir be eed PA aA tee S Sete Tten a ¢ 4 . eb de teaines edcat ed aatt bd tele | Qecee ky pity fee bd onl — ater ee or. Cadet bb ald Mw Need Tete - CR at en bel . phy ma | ae boo nye sees ry Ph Seer are Tad 0 * i ete eda ad 3 b * } 7 hie RBS Fe FRA RY RT ERE NE wl NF Een RE LE, De Matte ee Riel ek he ne) From a photograph in color i al ~ arr re me me — Re Cee THE LINCOLN MEMORIAL, WASHINGTON, D.C. . 2 a Sy Ce her hr eat Ss ee a om 55 + oes > er) ar 0 lee Behl te ee tah Natio o ee — ooTHE PAGEANT OF AMERICA THE AMERICAN SPIRIIL IN ARCHTTECIURE BY To >, “ a 4 bid ay | 5 ; 4 r A mM TALBOT FAULKNER HAMLIN 44, HDD. LE, RHODE % fA * & ra 664 ISLAND Grae 3 BS aes . .%& we = | Fs ‘y = VA We ff lo signin (kg aa ty P| colo , - fi Ser ete gr ? A MAINE EK OONRIN § Ee Soa | 55 Pa se? fi Y ox all 2 bs CALI AN “Re i; rh c| FORA) c Lonecon st S +, : Sond | | ALA | \ fee ~ Q \ as | BANIA MA es WAY wits] Nee, . | FLORIDA YL IRG INIA x NIA oLG e% ee DS fi | INDIANA af vevapale Le \T A FO ee ch eee oe 549 MISSIS | \= | ete | ity sa, MINNE 3°! 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VL) Ba le i S' Y | Was : m 4ff ov 1 Sh x. | KAN peed _— en RK % VG S Y ue page 0| OU Is nN oni SPN Ms wg | 7 “AY ae =a ey CHAMP | AN A || DAKOTA 7 NS ] Bae. &_ 9 NOMING: y KENTUCKY Grp a | pS 4 be E gee ge = Nie | ID, AHO ler ve | MICHICAN eee OM \ ay me NE\ — Ss ze IME Kop RS ERMON The NEW HAVEN -: YALE UNIVERSITY PRESS TORONTO - GLASGOW, BROOK & (€©) LONDON HUMPHREY MILFORD OXFORD UNIVERSITY PRESS L926 CL as ee JiP ek bP leslie tab Car lth be te eee doed che deeb CPR Sr nes Ss baa ir area eto Ts eed lee ree Re RESE ce bite hI +E - sz Ti See LN Et ee eet El Bh, PE: CS ae tart pat tl i dl ptt — = * del oh rar — E « < he ba) ae hs se. « et eR a tery Sr ee > kar Seat ee Toe br tea he ard Cina bal we ate a ~ Par) I: B Fe ney oi ie i get ae Bi iy Ee : S - pre a pe a i ee | Sa ee 3 o ~ bl hie alee tet Lech te leer) roar 3 = a i eed a . eae ee EA IS DT me ee yg Oe a i ee ie a, oe pi at - Ca aed ~e of = | a ed i _% Se het iiakd oh i alah. a Aaa ed A 325 a +=. aN S a ATs rs Snes oe St aN et re al Yan edi ah il celine ioe ee om AN rt 4 ht an ¢ enue be rat © ate, mec ws a = ae pa + . ~~ ~ at oh aT Pl et BY eee 6 COPYRIGHT, 1926; BY YAEE UNIVERSITY PRESS PRINTED IN THE UNITED STATES OF AMERICA 1 ttTABLE OF CONTENTS CHAPTER PAGE Foreworp. The American Spirit in Architecture —. ‘ : 1 I. Early European Backgrounds ; . . : 9 Il. The Far South and the Southwest . ; , : 18 Ill. Early Colonial in the North. . : , Q7 IV. Early Colonial in the South. . : : , : 41 V. Later Colonial in the North. . , ; 50 VI. Later Colonial in the Central Colonies —. , ; ; 64 VII. Later Colonial in the South. . | , , 79 VIII. Architecture in the North, ‘‘Late Colonial”. ; 92 IX. Roman Influence in the South . | : = 108 X. The Greek Revival — Gothic Influence. , 124 XI. Pioneering and the Great Expansion . . , 139 XII. Civil War Stagnation — The Victorian Era . . 150 XIII. Beginnings of the American Renaissance, 1880-1900 . ; 165 XIV. Modern American Architecture , . , 179 XV. Banks and Business Buildings . . : 188 XVI. Public Buildings . . . . , : 200 XVII. Memorials, Monuments and Expositions . ; , 2 e219 XVIII. Educational Buildings. . . , 236 XIX. Factories and Industrial Buildings . , , ; = Zoo XX. Domestic Architecture. . . , 262 XXI. Clubs, Apartment Houses, and Hotels. , , » 280 XXII. Theaters . . : : 997 XXIII. The Church . . : : 309 XXIV. The Future of American Architecture ; 395 Notes on the Pictures . . : : ‘ 338 339 Index . ; 4 3 ; ; : :mA Gs AD BY os Sree ee Le ae ae ra be - hare! Pe EP Pe Bae eer wee ie aoa Pas batho Sd Yee blel ie teed Hey af Plata = - *- Po be ee oe i‘ Chatelaine bed lh at Bee tat oe Sar nna en Ucar aery al bs z — -- > = - Eee a eines blog hel bel ret: Hy rs ; res bes cae Dee taca lit ns Nile ne Rl al Ss sa de Nate ta eal Det Dee eh eMedia end Th mat Se ~ Sd ede hel es ihe te be het et et Bl =e PALS SAGPS ei a = A * Oe Ne AS Ee TRA A OS a ° sme « 5 . - oh as ‘ = AT eeya oy Pe dee THE AMERICAN SPIRIT IN ARCHITECTURE T is difficult for twentieth-century Americans to realize how life was lived by the men and women who left Europe in the seventeenth century to dare the great adventure in the American wilderness. A few were of the gentry, many were the common folk of the commercial towns and many more came from the rural vills where their forefathers had been peasants for generations. All had seen the stone castles where lived lords and ladies in the splendor and luxury of the time. Some had dwelt in the town houses of wood or stone crowded close together inside protecting city walls. More were familiar with the rude habitations of the rural vills. There were the substantial dwellings of the yeomen with naked timbers showing through walls of brick or stucco, the whole surmounted by roofs of thatch or slate or even tile. Not far away were the cottages of the poorer folk. sometimes with wattle sides two or three feet high and thatched ane sloping steeply from short ridgepoles. Here poultry and farm amet often shared the shelter with the family. Occasionally in the forests were rough, conical huts of boughs or thatch. The men and women who faced life in wild, seventeenth-century America brought memories of the old homes they had known in the communities they had left behind. Inevitably the first white habitations in America were crude. Captain John Smith, whose strong hand guided the Virginia colony through some of its most trying days, wrote a description of the squalid becimninss of Jamestown: ‘In foule w eather we shifted into an old rotten tent; for we hé ad few hatter. _. . This was our Church, till we built a homely thing, like a barne, set upon Cratchets, cov ered with rafts, sedge, and earth, so was also the walls: the best part of our houses [ were | of the like curiosity; but for the most part farre much worse workmanship, that could neither well defend w ind nor raine.” Such habitations were but little better than the bark dwellings of Powhatan and his people farther in the inter ior. In New England the Puritans of Maseachice tts Bay Colony first sheltered themselves in dugouts or rough shelters, some of which were reported, i the year 1631, to have caught fire “‘in the ae covered with thatch or boughs... . * these poor Wigwames (they sing Psalms, pray, and praise their God) till they can provide them houses.” Such hé ibitations show how closely Englishmen approximated the culture of the Indians in starting their settlements on this eee American frontier. Yet the ‘“Wigwames,”’ like the houses that followed, embodied English rather than Indian ideas. Soon the e: ly huts gave way to habit tions with wooden walls of hewn timber. But the timbers seem to have been placed on end side by side, in vertical positions. About the village was the palisade, which, per rhaps, had been borrowed from the Indian towns. On many of the dwellings were the thatched roofs so familiar in the English vills. Like their inherited system of husbandry, the English peasants brought to America the type ot house which they had known at home. And for the gentry ne began to build the more pretentious frame house that, in English counties, stood apart from the cottages of the village. The early, trying years of se ‘ttlement past, American communities along the Atlantic seaboard took on a more settled and comfortable aspect. The climate was good and the soil fertile. On the whole the families who came to New England and Pennsy Ivania, to l 5 Ce ee eee ae Fe ee Smt aeearner beret bel tk den re ee teh kel eter im bebe beret de bet er tl att ari thay ts -. 1 aytaieceunee note few KS e fe ee t Di By ar ren tt] oe he (i Sah aoe Ma Ab he Na ae hal otha had Ne aha nce Saat ee 5 Car ra - Oe Oe ee —. + - - « a > Rd eat Ae . Pi a RT Oe ae Ee yr ae Pn ~ “ =~ es - - aa S 5 5 _ 5 Se a * aera ne ata an a Rec Ne aa a lA a Le a a a aa a ne ae 4 = AS eS Oe ee a et eS x - pan 7s ee x ~ . * Rots a oe i a Poa a eer . eT aa a sa YA ee si 4 ~ - , | oe a akan - . OR a ae Meh 2 ROSA Hh ie tk ESE Ne eR Ere Oe - — S Pertet kai Pia 2 THE PAGEANT OF AMERICA Virginia and the Carolinas, prospered. In seventeenth-century New England appeared the village of feudal England but without the feudal lord. The villagers were partners in an economic and a religious enterprise. They acquired an area of land in common and divided it into home lots and outlying fields. The village lots were large enough to give room for fruit trees and a garden near the dwelling: Such towns, though seeming to stragele along a single street, were laid out with care and forethought to meet the needs of the community. Near the center, as in England, was the church, and hard by, the parson- age, which sometimes also served as schoolhouse. Lanes were laid out leading to the distant fields to which in season the villagers daily went to work, as their English peasant forefathers had trudged from the vills to the arable fields. When the village had fully occupied its desirable adjoining land, it threw out offshoots, and in desirable bottoms a few miles farther in the interior, new church spires and clustering towns would rise. As the seventeenth century passed into the eighteenth, the village houses added lean-tos, measuring the increase in the prosperity of the householder and in the size of his family. The old common pasture in the midst became the “green,” where sometimes stood the church and the low brown and gray stones of the churchyard. ‘he turbulence of the frontier period was forgotten, and the repose of the ancient vills of England reappeared in the country towns of Massachusetts and Connecticut. But the village of the independent husbandman was not hmited to New England. Dutch towns under the influence of the Low Countries grew up in the Hudson valley. In Pennsylvania, Quaker towns, often with stone houses, dotted the rich flood plains of the Delaware River. After the opening of the eighteenth century, German villages ap- peared farther inland, bringing to the New World some flavor of the Fatherland. Some of them were groups of communal houses, built to conform to the practices of a religious sect. The Germans spread into the back-country as far south as the Carolinas. With them went other newcomers, Scotch-Irish Presbyterians. The life of these folk, as far from the coast settlements as the frontier had then marched, still showed the rough- ness and crudeness that had marked the Virginia and New England settlements a hundred years before. Yet the dwelling on the Yadkin in western North Carolina to which Daniel Boone brought his bride did not resemble the earliest habitations of Jamestown or Plymouth. It was the log cabin that was to become the traditional habitation of every frontier until the treeless prairies were reached. Perhaps the cabin whose sides were built of logs laid horizontally was brought to America by the Swedes, who, in 1638, established New Sweden on the Delaware River. Such houses were the customary form of dwelling in their forested country. Perhaps it was the independent invention of American frontiers- men, an adjustment to the conditions of American forest and climate. Whatever its origin, the one-room structures with, perhaps, a rude loft overhead, made appropriate homes for the race who had sturdily set their hands to the task of clearing the forest. About the cabin village of the frontier was the palisade, and at the corner of this a blockhouse, a square log structure, built after the manner of the cabin, but with a second story projecting on every side beyond the first. This projection was no English overhang, but a defence against the Indian, who, with increasing bitterness, watched the whites advancing into his country. Even if the log cabin is not, the blockhouse seems to be, the creation of the American frontier. From such forts where, perhaps, he had stored his pelts, a fur trader upon occasion made his way on a matter of business to the growing cities of the coast. In the coast cities of eighteenth-century America he found quite a different atmosphereTHE AMERICAN SPIRIT IN ARCHITECTURE 3 from that of either the small rural village or the wild frontier. Before the end of the seventeenth century the sea trade had sprung up and, in the eighteenth, had grown vastly in importance. It brought wealth and ready money to urban America. It created the merchant who hazarded his capital on distant ventures. In New England, New York and Pennsylvania, the wealthy merchant took his place as part of an emerging aristocracy. His enlarged outlook and increased fortune demanded expression in more sumptuous dwellings, while his aristocratic tendencies made him desire a more formal dignity than was to be found in the naked timbers and the unpretending lean-to of the house of the century before. But eighteenth-century America produced a more striking aristocracy than that of the commercial coast city. From Maryland south to Georgia the planter appeared. His northern counterpart was the landlord of the great estate in the Hudson valley. In the latter half of the eighteenth century, this landed aristocracy reached its full develop- ment and gave to America a disproportionate number of the leaders of the Revolution and of the founders of the new nation. It was a provincial gentry, to be sure, held in no very high esteem by their English cousins. Yet there was culture and urbanity among them, and a vitality and strength which contrasted sharply with that of the somewhat similar Spanish landed aristocracy in Mexico. It chanced that both these aristocracies flourished at a time when in England the architectural ideas that grew out of the Renaissance were reaching full fruition. In the seventeenth century two great masters, Inigo Jones and Sir Christopher Wren, brought the spirit of the Renaissance architecture to England. In the eighteenth century the group was larger, if less distinguished. The Renaissance was, in part, a return to the ideals and ideas of Greece and Rome. In England, the classic forms of Rome, when that city was the capital ot the world, were used to express the artistic feeling of the time of Queen Anne and the first three Georges. Jtoman forms, modified by Itahan and English influence, became the mode of the times, decorating the churches, the public buildings, and the homes of the gentry with porticos, columns and pilasters. The artists departed freely from the classical originals and adapted ancient forms to the needs of a different age and civilization. The resulting style, for want of a better name, has been called Georgian. The dignity of the Georgian forms fitted well with the mood of the vigorous upper classes of English colonial America. Monumental mansions with porticos and columns arose along the Cooper, the Potomac and the Hudson Rivers, and in the commercial cities from Boston to Charleston. Churches and public buildings were erected under the in- fluence of the classical forms which the Renaissance had brought to England. The leaders of America were reaping large returns from the exploitation of virgin soil or the prosecution of an ever expanding sea trade. Their position in society seemed secure and the future was bright. They had money to build good buildings, and their communities contained artisans whose skill approached that of the workers of the Old World. So was established in America the developed colonial style. But, if the aristocrats of the English colonies built buildings of dignity and beauty, they never achieved the splendor of the work of their Spanish contemporaries in Mexico. Spanish America was dotted with public buildings, churches, monasteries, missions and stately mansions. In 1573, before Raleigh had undertaken his ill-fated Roanoke venture, the Spaniard cleared the site of the chief temple of the Aztecs and laid down the founda- tions of the cathedral of Mexico City. For two hundred and forty years the building r eM Af Des? LP ite ot eleleataeal v aeee male Piarea eased ek eel Se alee Del to etee tet ih bee eed ber let ile tabi ter Tot} i ..* < eS yp St —. - A Be - BR = Pa Si he 4 es x . « - Da ae «<1 -« “ee en a ae * Del eS betaieet a beeen al LL Ete) ot « pe east atte veel bee BG, Bar 1 : ZA * a > ie a La LV i Ld Saray tanec teee oS an “uur — Co) c- ie i oe Lge ng Di a hae te i r1 he oy Hib Pi , ae amt J ie ¢: aes 4 ' oe a ete He ie i 4; r ' qi Ls Ween eae ala Baal at hat Dads age lh oe Ya La ec ha nin, - aot ‘ Stas Ce eee tary cae at 0 yp eS wf emg ws = — oa . . 5 a ee ee ae) a a a ee 5 ek eld ~*~ hat tel hel tel) see be Raa teat ee Ral eh Net eet len iat ee mele doe) al ld ~ tee . -% a Se m5 Hay, rainy 2 a en om ot ie Bi a SO Oh a4 2 oe 8 EA Tore 7 be Pers ete; ee en ‘ 2 = a - yer ~~ Ne ae _ = Pa bch shat ands yo ot ae ey za a at - ~ = ee er és =m a = 4 THE PAGEANT OF AMERICA progressed, while architects of many schools worked on it through the shifting styles of the passing centuries. But the final structure closely ror the original concept. Thousands of Indian artisans and workmen found in this cathedral an opportunity to express the marked artistic instincts of their race. It remains the greatest of the material monuments left by the Spanish régime in North America. In estimating the architectural work of the English colonists it is well to bear in mind that of their Spanish contemporaries south of the border. If Georgian architecture is still a living force in the United States, so also are the forms used by the early Spaniards. But there have been moments in the history of both Mexico and the United States when it has seemed that the influence of the old masters had vanished. In the northern nation the Revolution marked an architectural turning point of im- portance, not because the war brought a decline or change of taste but because the crea- tion of a new nation presented Americans with a whole new set of intellectual problems. Obviously, the most important of these was the organization of an effective government, a task which was accomplished in the Constitution of 1787 and the administrations of President Washington. The appropriate housing of this government became at once a problem. The final solution was in harmony with a state of mind much in evidence after the War of Independence. Americans who had successfully defied the most powerful empire in the world, while they themselves were weakened by dangerous dissension at home, felt, with some justification, that their accomplishment was one of the greatest of history. When, eight years after the surrender of Cornwallis, they saw their late allies, the people of France, rise to overthrow the Bourbon monarchy, many Americans believed that the French Revolution was inspired by their own. It was easy to picture the United States as the torch bearer leading the oppressed peoples of the world towards liberty. America had thrown off the yoke of a king and established a republic. In days when the study of the classics was the core of ec aes, men’s minds inevitably ran back to that earlier republic which had produced Gracchus and Cicero. The heroes of the Revolution were compared to those of republican Rome; the disbanded officers of the army became the Order of the Cincinnati: the upper house of the national congress was called the Senate. Thoughtful leaders. of the young nation turned naturally to Rome for the inspiration of the buildings that were to house the republican government which they had created. Atthe forefront of the movement was the gifted and versatile Thomas Jefferson. During the first few decades of its national history the young republic, of so little consequence in the society of nations, dreamed, a little naively, of its Roman greatness, and deliberated its local problems in Roman halls. The aristocracy which had developed in the eighteenth century had not been unseated by the Revolution. But, although gentlemen naturally assumed the direction of the new government, their political power was becoming more and more unstable. In the North, as the nineteenth century pro- gressed, the ideal of aristocracy steadily gave way before the insistent demands of a frontier-born democracy. In 1818 the people of Connecticut overthrew the power of the clergy and of the established Congregational Church. Two years later New York state, against the advice of some of its wisest sons, adopted full manhood suffrage. Aiter another: eight years, in 1828, Andrew Jackson, man of the people, was elevated to the high office of President in the first national triumph of the most important democratic movement up to that time. But, if the ideal of aristocracy was fading in the North, its influence grew even stronger with the passing decades in the South. To the final day ofTHE AMERICAN SPIRIT IN ARCHITECTURE 5 the Cotton Kingdom the planter maintained the aristocratic tradition. To the last he loved the quiet, stately house, set far from the highway at the end of a vista of noble trees. The South and the North went different ways, developing different civilizations, that of the planter clinging to the ideals of seventeenth- and eighteenth-century England, that of the North more in harmony with the England of John Stuart Mill and the aboli- tion of political injustice. Such was the background for one of America’s most striking architectural developments. Latrobe had used Greek forms in America as early as the end of the eighteenth century. ‘They dominated the structure built to house the second Bank of the United States, which Jackson later so fiercely attacked.’ In 1820, at the very time when the democratic tide in America was rising to full flood, Greece was seeking to throw off the yoke of the Turk. Rarely has any struggle for liberty so profoundly stirred the sympathy of Americans. The attention of the western world was turned to the people who lived in the midst of the ruins of the greatest of ancient civilizations. The more cultured leaders of the rising democracy of the New World, still under the influence of an education that was largely classical, looked past the nineteenth-century Greeks to their ancient forebears. If Rome had been a republic, Greece, in the heyday of her greatness, had been a democ- racy. If the architecture of republican Rome expressed the ideals of the aristocracy that shaped the early destinies of the American republic, the Greek temple symbolized the aspiration of thoughtful American democrats who dreamed of litting their country to something of the glory that was Greece. So in the old America east of the Appalachians and in the new America of the Mississippi valley, in cities and in rambling country villages. the Greek temple became a courthouse, a church, and even a dwelling. The traveler along country roads passed many an isolated square white farmhouse, with huge pillars reaching up two stories. Perhaps the husbandman, who knew neither Greek nor Latin, felt vaguely that this austere house expressed his dignity as a citizen participating in the government of a great people. But the middle two-thirds of the nineteenth century in America were not favorable for genuine architectural development. Except, perhaps, for political institutions, American culture was yet in its imitative stage. A series of “revivals” influenced the building of the country. The Greek Revival was the most popular, and after it came a Gothic and even an attempt at an Egyptian revival. To make up for a paucity of inspira- tion at home the building forms of other times and other civilizations were called upon. Great architecture is the work of a people whose life rests on a stable economic foundation, whose traditions run far into the past, and who have become conscious of the peculiarities of their culture. Nineteenth-century America was full of disruptive forces. The old slow-going culture of eighteenth-century America lingered only in the South. More than a century had passed while the frontier worked its way from Jamestown to the Appala- chian Mountains, and from Manhattan Island to the upper waters of the Susquehanna. But, in the nineteenth century, the frontier swept with incredible swiftness across the continent. All America seemed on the move. Virginia and the Carolinas felt the change as their old plantations declined in productivity, their ancient mansions fell into dis- repair, and the sons and daughters of the old families moved to the fresh cotton lands of Mississippi and Alabama. New Englanders, wearying of their struggle with a stony soil, left for the new country of Pennsylvania, Western New York, Ohio and beyond. Later the men of Tennessee, Alabama, and Mississippi went on to ‘Texas and those of Ohio and Indiana, to Wisconsin, Iowa, Oregon and California. To increase the confusion,of ame em e « - pectoral eek een ek aaa hel eet bene Em DE hr rina be temt ttre an) tS wits Mass * Se . ve p oe os a - _ . - e “< e is a panelaswe ah Eset ed et ed ete pet hae gh A htt eT. A , aS. ~ . a) iO ‘ LPs i Ps A Ee A RT Ee ee Dla ae enc aa dinate Nalin Nath ete Te tae ee dae a rae fe ped od Not aa Sah rg al ote we Psat rah meh BaP alt te abe hie baat ty St DM or Ree at ie aire 98 bt Pg ee Phas ae ean 3 Roe he a a en a A e - ak + Y ~—s . - — . ™ . 5 *. et ant — J = - S * SS A ee be . NS Le Ee ls a oe aN tea ett - ante Sd poy a ee ~ * a a Lt hake Se oye ee es be ie Ltt hi beds Neal Nadal nN et Leda tome ed Aan aes meet hin dik nt Be a Ce Ee ta eS ae ik rte SRS Oe ee Ee a oo; on ee s - . Sie PAT Ena, Re eates Pas cam be é a ol a. ae. Ae PPE Se = - pn oe ~~ -— = & Pe eae ~ on - =o 6 THE PAGEANT OF AMERICA industrialism appeared in New England just prior to the War of 1812 and, before the Civil War, had spread slowly throughout the northeastern states. Many a community whose traditions went back to the seventeenth century was revolutionized in a decade by the advent of a factory. Yet in all this flux there was one field in which American builders rose to genius. The sea trade, born of the seventeenth century, had continued into the nineteenth and had prospered. In the eighteen ’thirties, ’forties and ’fifties, the ship carpenters of the Atlantic coast created the American clipper ship, as beautiful and majestic a vessel as ever crossed the ocean. Like the ancient cathedrals of Europe, it was constructed by artisans who built their very lives into their work. Its beauty lay in the fact that the whole harmonious creation, its proportions, the curved bow, the rounded stern, the forest of rope-festooned masts and spars, was true to function. There was nothing false, nothing superfluous. The clippers were built to make swift voyages to China and return and, in their day, they led the merchant ships of the world. But industrialism, modifying the life on land, also revolutionized that of the sea. The steam-driven vessel usurped the ocean-carrying trade. The great clippers, the acme of the evolution of the sailing ship, passed away, their images lingering in the colored prints of the day and in the memories of old seamen. The middle of the nineteenth century saw the culmination of the disruptive forces at work in American life. For four years two hostile sections, influenced by different ideals, fought to determine the question whether the South should become an independent na- tion. ‘lhe passage of the Homestead Act, during the conflict, stimulated the westward movement of population after peace had come. Industrialism passed out of the phase of slow and tentative development and began to revolutionize American civilization. In the years from 1860 to 1880, the national life was confused as never before by powerful and conflicting forces. Over all hung the shadow of a moral decline, as the high idealism of 1861, which called the young men of the North and South to war, faded into a vindic- tive reconstruction of the conquered South and into a sordid corruption that reached high places in the national government. The architecture of these years reflects the shift- ing standards of the times. With a few notable exceptions, like the remodeling of the national capitol, architectural taste declined. The refined colonial forms, and the dig- nified buildings inspired by the art of Rome and Greece, gave place in general to ill- proportioned structures crowded with confused detail. The Jig saws and turning lathes of a vigorous industrial expansion completed the architectural] collapse. Then began the slow process of re-establishing the builder’s art. Rarely have men faced problems more difficult. Industrialism was creating out of the commercial cities of the early nineteenth century monster population centers that sprawled without plan beside harbors or at the meeting point of many railroads. Property values on certain streets reached prodigious heights. The sky-scraper rose in answer to the demand for the fullest possible utilization of the land, and to bring as many offices as possible close to the important business centers. But these new buildings were themselves the product of other factors with which the architect had to reckon, the advent of cheap and depend- able steel, and new inventions like the elevator. Steel, reinforced concrete, and the swift development of engineering after the Civil War, made possible building feats beyond the dreams of earlier generations. The congestion of population in great cities and the complex life of an industrial age called for new types of structures. Mounting fortunes created a group who demanded palatial surroundings. Each succeeding decade sawTHE AMERICAN SPIRIT IN ARCHITECTURE 7 material changes become more rather than less rapid. To these the architect must adjust himself, and besides them, to intellectual changes of almost equal importance. By the opening of the twentieth century, the old classical tradition in American educa- tion had been largely modified. No longer was a knowledge of Greek or Latin the core of learning. Many an old college of the eighteenth and nineteenth centuries had grown into a university and, following the Morrill Act of 1862, new state universities had sprung into vigorous life. Women were given educational opportunities equal to those of men. Technical schools of engineering and agriculture attracted ever increasing thousands of students. Natural science, social science, history and English assumed positions of importance in the curricula of the colleges of liberal arts. These educational developments broadened the foundations .of the growing intellectual life of America. Outside the colleges, museums of science and of art were being established or enlarged, where home-staying Americans could come in contact with the art life of western civiliza- tion as it unfolded from its primitive beginnings to their own day. As wealth increased and education became more general, more and more Americans made their way to Europe to study in the universities or the schools of art, or to travel amid the splendors of vanished ages. It fell to the lot of the architect to contribute materially to this cultural development. Two Americans, both of the Ecole des Beaux-Arts at Paris, led the way in the Renais- sance which followed the mid-century architectural collapse. Richard M. Hunt brought back to America a sound appreciation of the principles of his art and, by precept and example, wielded a powerful influence over younger men. Henry H. Richardson chose Romanesque for Trinity Church at Boston, and believed that he had discovered the forms capable of being developed into a truly national style. But Romanesque with which Richardson produced such beautiful results proved too difficult for many of his imitators. The style passed, but not until many buildings of sturdy masonry had been reared which still stand as monuments to this first great effort toward better things. Richardson died in middle life in 1886. Seven years later the Columbian exposition at Chicago marked the beginning of a new phase of the Renaissance. Again Americans turned to classical forms. The beautiful buildings on the shore of Lake Michigan had an influence which amazed their designers. The half-forgotten forms of Rome and Greece became immediately and widely popular. The buildings of the age of industry took on a striking resemblance to those of the early years of the republic. Moreover the dignity and splendor of classical arches and columns were in harmony with the increasing importance of the nation which, with the defeat of Spain in 1898, passed to the status of a world power of the first rank. But the use of the ancient forms was no mere revival. Intellectual America had passed beyond the stage of imitation. The new classicism was followed by eclecticism. Arche- ologists were fast reconstructing the civilizations of the ancient world. The schools of the new day had brought the architectural development of the world within the view of the student. So the builder of the early twentieth century, facing problems frequently without precedents, chose what seemed to him the best from the procession of styles that has marked the progress of the centuries. Perhaps classical forms have predominated, but Gothic, one of the greatest intellectual achievements of the Middle Ages, has found in America a friendly environment, and has sprung into new life in the western continent. Byzantine from Constantinople and forms from India, China and Japan may be seen reflected here and there in the streets of America. + Palo A if dt J ea Ley 1 a oe eteso Pe eee rer) ie - ~ . r a Ps r : enna a bearer at Li iaeak Ie es . Di hte kan Narberth GaP rst er let tye bed Get tn teat Oi ree tl beled chart Che a Me he te ee et ea a tea Set Sede hee ened ier SPMOATIM Zo So 4M aby enemas re Cr A . . a 4 re p — Zt ft. ee ee c pS = _ * ~ ara) rs e oF th: Fe 3 ie iy eS , Br aT ry i = ree dha oo ae i fi t ee t tore a ria ae Le fe ye ag HN af Hy ie te uy What hr a ‘a aD et is F ay he = 5h — a Pe a . one EET ey. ele Pa BG ARs ~~ fap 5c 5 oS PS AL Ss ao a 2s Se ee TO pe oe ee J = = = 5° bl . ~~ io Le) te ne A. a a Da xs ry 8 THE PAGEANT OF AMERICA A few forces must be reckoned with in estimating the future. The greater part of the vast natural resources of the United States still lie unexploited. Unless dragged down by a world débdcle from without or a revolution from within, it seems clear that, for a time, America must continue to increase in wealth. America’s world position must inevitably be affected by the increase of her population and her growing economic strength. But industrial America has passed through the phase of crass materialism. The philan- thropies, like the commerce of the United States, have become world-wide. Education has become almost a national religion, and buildings like the Princeton dormitories or the Yale quadrangles are the cathedrals of this modern faith. America stirs with an intellectual life that finds no counterpart in her earlier history. Her scholars are making contributions to the sum of human knowledge; her literary people are beginning to express the thoughts and emotions of a new civilization that has followed the factory, the machine and the giant corporation; her religious leaders are aiding in the great task of enriching an ancient faith by adjusting its doctrines to the knowledge of the new day. It remains for the future to disclose whether American builders, with unsurpassed material and intellectual resources at their command, will reach artistic heights commensurate with their opportunities. Raupu H. GABRIELUM Shee Pie pate ek CHAPTER I EARLY EUROPEAN BACKGROUNDS VER a hundred years passed between the first discovery of the American continent and the establishment on its eastern coast of permanent English settlements. Save for the Spanish in Florida and vain attempts of French Huguenots in North Carolina, it was not till 1607 that a successful and permanent village was founded — Jamestown in Virginia; and it was not until 1620 that the first New Eng- land colony was established. From that time on until very recently a double phase — southern and northern — has characterized American culture. Differences in climate made necessary differences in the agricultural foundation upon which the early settle- ments rested. Moreover, the northern colonies were built in a hilly region much of which had been covered in ancient times by continental glaciers. The villages and plantations of the South were in the beginning established upon a low, flat coastal plain. The southern and northern phases of American culture each spread slowly westward until in the nineteenth century two civilizations, In many ways quite distinct from one another, appeared within the United States. This growing divergence between the North and the South is one of the important factors in American architectural development. From its earliest days the Virginia colony was characterized by the traditions of feudal England, under which it was founded. To it came adventurous younger sons, seeking in the new country not only wealth, but also a position that they could not win at home. Into it poured indentured servants, who, after they had worked out their time, became tenant farmers or small landholders: a growing body frequently in opposition to the owners of the great estates. To it was brought shipload after shipload of negro slaves to work the tobacco plantations. Thus by adventurer, indentured servant, small farmer, and slave there was developed a system of large estates lining the river banks of the colony, spreading north into Maryland and south into the Carolinas and Georgia — estates that were naturally as much like the great English estates as their owners could make them. And so eventually there grew up a native aristocracy, builders of great houses and parish churches, supporting a courtly and refined society, orthodox, con- servative, elegant. Much different were those who settled the forested shores of New England: in- tensely serious men and women seeking a place where they could own land and where they could worship in their own way. Canny, full of practical common sense, narrow and often intolerant, and yet full of a contradictory enthusiasm for the great English tradition of political liberty, they gave to the country they founded a character of inde- pendence and deep seriousness that is unmistakable. Mostly of humble birth themselves, there was at first among them no aristocracy save that of learning; the minister was the great man. They had no great plantations. New England farmers huddled to- gether in compact villages and from these centers hewed an ever-widening circle out of the forest. | Between North and South was a middle area in which influences and peoples were 9 re ) ae ee soy. *.f Or ee: Fy Oe Saale ts id —. ~~ se, iG10 THE PAGEANT OF AMERICA strangely mixed. New Amsterdam guarded the mouth of the Hudson, a true Dutch trading center. The Dutch came to America not for religious freedom like the New Beene not primarily for the founding of a new Pee dal aristocracy (although such an aristocracy did inevitably develop tates along the Hudson), but because, as wise business men, they saw the supreme need and enormous value of New Amsterdam for trade. The Dutch came to America to buy and sell. Swedish traders came early to this central region, too, and later, the Germans; both, in their little settlements in Pennsylvania, ae are and New Jersey, developed a culture that has contributed much to the richness of the American background. But it was another religious exodus from England that gave final form to the colony of Pennsylvania and ev Srenally dominated the culture of much of the surrounding regions as well, for the influence of the Quakers under William Penn has never quite died out. In New England the settlers found a country of rolling hills, rising in places into mountainous ruggedness, covered with thousands of miles of forest that furnished wonderful building materials — oak and white pine, spruce and birch. It was a rocky country, but the stone was hard to work, and lime for mortar was scarce. There was an abundance of clay for bricks, but what need of much brick building when timber DEC beni ie eh nae ira nb bait bt Dba a RO hg tet etd =~ ‘ . ot - : se ore . Ps - Pee a ow a = A . Peat wae . - . - « ~ Phy a ha ee Ci ees aed <4 y Sheth et ibe he kde beh hid et Von ee LIC! CS hae pa aig omc Pag ht Nea at et a Se 5 A S24 bP was so plentiful? In the South, along the coasts, the colonists found a country of sand; but inland the marshes spread up the rivers, and there was abundant timber. Clay for bricks was even more plentiful than in the North, and more important still, lime was easily obtainable. From an early period, therefore, masonry building was more common in the South than in the North. These new colonists, South and North, were not settling an uninhabited country. The Indians they found were barbaric but not “savage.”’ They had developed a certain sense of political organization in the tribe; they Lae the value of inte rtribal alliances. They had a rude agriculture. They lived in v illages, more or less permanent, with round- topped bark or hide houses. But the Indian tragedy began almost immediately; save in a few exceptional cases — Penn’s treaty is the most important — they were driven by the ignorance, the fear, the hostility, the suspicion, and the greed of the settlers into permanent and futile enmity. Indian ‘culture, therefore, had little effect upon the colo- nists, except in woodcraft, in which the settlers proved apt pupils of their enemies. In building, especially, no effect of Indian example is to be expected, for European needs were too far developed to be satisfied with the simple Indian dwellings. So, in the new country, the settler sought solace from the terrible homesickness which must often have engulfed him, by building around himself, after the earliest wattled or palisadoed shacks, a new England or a new Holland, as like the country he had forever left behind as the materials he had to work with and the climate he must consider would allow. ‘Thus the gabled overhanging houses of New England enshrine the memory of England’s half-timbered picturesqueness, the great manors of the early South perpetuate in America the tradition of the Jacobean English “place,” and the stepped gables of New Amsterdam were but simpler versions of the forms of Holland. For each settler wished to build a home; and home, to him, could mean only the environment of the land of his birth. a te a et aha te late de a eel ae lee re ed) hae eee td tbe -* oar Cs e - oe Se ms 7 oo * oe a ms - ¢ = 3 hot ty . - _ i . - es 3 * be ae oP ‘ oa i x ne ae Prd . = — * . r a > c ieee’ - ’ ‘ 2 : 3 i ' ! ‘ Ss 5 » s. 5 5 5 ~ ft ry Se oe a Be aN lan ta: “Nala IR ie ote? Decent Nidal oe Nee eh ite ee te ed ek ee at et et ha, Sar eer 4 . aa ie ~ ey ea ew a eo “ . . a oe ay . et et he be a etn tek ed ede be ee ee et ee te a ae ee te weer Ty a ed = wim a cali a 7 _ SS ae et = a ee a an ldo, stg a - SF See ha At ee i, pe NE 3 % Fah hed & ~ =m a a = ee - a ao any . - - . Cn. . a Ng hatsaetanca arse See ‘ Sd i hn - Ca 2 ~ foe > am ae : S P= a —- yer , c oF a Eee CET IEE yk p TC ee ee eM Bt dee | i As Fadel LP CED ae eet ra) F “ae oyre tok 9 wees y “id ’ A LT 5 et ESP 5 ou uy Pe PA He Bop oe , vy POPS ser ey pee | t i . ue . jj aes " ety 7 EARLY EUROPEAN BACKGROUNDS 11 r Yea 4 ee hae ‘ pe ie a ay f ey ¥ ee 7 : oP ease eel Fa Aw Deal Eire 1 <7 ee \ P a“. Yen waa «> i) eerie, 1 From a photograph A VIEW ON CASTLE HILL, LINCOLN, ENGLAND From towns like this, settlers came to the new country seeking often freedom for their worship in the North or gainful adventure in the South. In the foreground is a typical many gabled English town house of the sixteenth century, with high roofs, stuccoed walls, deep-shadowed overhangs. Beyond is a stately Georgian brick-fronted mansion of the eighteenth century. The memory of these forms was the most vital influence at work in the design of America’s early buildings. SHAKESPEARE’S BIRTHPLACE Tuts house is in more rural , ‘ 7 3 : Stratford-on-Avon, in Warwick- | s nL E etn bet shire. Its form is characteristic ge are Tap of the lower, more rambling ~ h bares i“ houses of the smaller villages; | ig & ae the half timbering of its walls is | , Cdl | ie soe se ot not developed here as a decora- : ; may el po eS Beal tive motif, but is the simple ex- | he i ha SF . pression of the actual structural timbers. Timbering of precisely this type is often found beneath the shingles or clapboards that almost universally wall our early houses. 9 From a photographee ee 7 rhe S Let Mdeietehtne Vineet de Led Va We bel et al r . : ‘ yi SADR Rabkin tn piel rb ier ape tbe ob beetle ao | - -- . . a) a - * a _ * J . . * 2 eae Pre a se ee biplane aera eh itd fd : - WE * i 5 ie tae Coach ln heh de te i bes AG AE EPS FOS ar AP ee ci eesti ren, - 5 peachy at Ne) ‘ — ed SS errr las es ap Rye Ta be Dita he, LU oat io : . + Oy ie ae ae ‘es 7 LSE ie a 5 aL re Ue ae | Ee oan Ul ’ na \ Ff i i gs ri ’ ha = a oe - SI r* btn en heh he bo eect’ oe tien Reathon Natl Reed teed Poh eee ie he Pt ns Aer * howl a hg A =. . Src ina .-* = o ——_— = he o— 1 ee es .o ee ae PAE a RS NES a De aig Snes Pee Be A Se a ae ~ A add seb ia am ar Ieee at at chert ce bated Ne hrs a eye eT . —— * ak wt: , Eh te Sk ~ Py 12 THE PAGEANT OF 3 From the International Studio, 1912, after a painting by Sydney R. Jones Mee te oo v AS ie AMERICA ~~, cei oe e St ui nas ORR x nike ees © Sig obec kite aaba ee = 1 ke came lO We ee From a Dutch print engraved in 1783 HORLEY, OXFORDSHIRE A TYPICAL village street from the Oxfordshire hill country shows in masonry many of the same cottage forms that in this country were reproduced in wood. Simple gables, massive chimneys, small windows in early American houses are direct heritages from the English forms. THE WEST INDIA COMPANY’S HOUSE In the days when New York was a Dutch colony this was the Amsterdam home of the Dutch West India Company. The Dutch brought with them the tradi- tions of red brick and white trim, of simple, large win- dows, of dormer (roof) win- dows, instead of the English gables, of gables decorated with scrolls and steps, paral- lel with the street, instead of leading directly to it, as was more usual in England.EARLY EUROPEAN BACKGROUNDS 13 NNT \ ate hss \ Ad yy \ \ } vy AWWA ; nee \\\ aettey Ft BR WEE a '_ To] ot ee cones Dain 2 ae eS _ Tar oF ~~ : Sho SU SRR Rec rE ge i a Re ep ies : a‘ Cte re EE kes Fate th Sor tisk ha eee eee + pvt (565 * seaman: sinbareeiaracbeimes Mee tronteer- + - ‘ Sie OW c SS . ~ SSUES Areas ais LAN a a ak ae ng par sa ‘ ap » Ms SR yr et Sits BOSSES ae Na BRR SENN psa aE eT Se NO Sa $e SEARS Raunt ASSESS RAN eR ape ae CES he genet Se REE 5 From a Duteb print engraved in 1783 COURT OF THE DUTCH WEST INDIA COMPANY’S HOUSE THE court of the West India Company’s house in Amsterdam, first occupied in 1674, reveals simplicity and a more marked Renaissance influence; but its roofs, its windows, and particularly its dormers show the same feeling that characterizes the early Dutch work in America. EARLY JAMESTOWN, PAUPag Bethe 2 cats BRN aoe THERE are no authentic pic- ; aN ! sie tures of the first buildings erected by white men in the country; and none of the build- ings are left. This picture of the Indian massacre near James- town, from Theodore de Bry’s famous work on America, is the original of many “early views of Jamestown.” Architecturally it shows general simplicity of type, the use of half-timber work in the town itself, and a fort whose outline is broken by the square church tower. But the whole must not be taken literally — it is at best no more than an : el eo =e oe B 6 Detail from the engraving in Theodore de Bry, Grands Voyages, Part XIII, imaginative reconstruction. Frankfort, 1634 Cie ier a |RRL RA ar r - 14 THE PAGEANT OF AMERICA aT LOG HOUSE, EAST | DOWNINGTOWN, PENNSYLVANIA Tuts log house in East > - ¥ . tsa Phd aha el at a edt eel bot abet tet eet el PAL ba eT ee erent A 3) 34,° 7 a ~ — — be oo a b a! Af AR x po Ge rope h > saat . > hha are vania log cabin stands near Darby, Penn. Put thatch on the roof instead of shingles, and wooden shutters — or at most, oiled paper — instead of glass windows, and you have a picture of a Pilgrim house. A glance at Chapter XI will show how the pioneers clung to a similar type of house, one generation building on its frontier what their fore- fathers had built on theirs. Some authorities believe that the early New England cabins had the walls built of vertical logs driven into the ground, like palisades, rather than laid horizontally. Downingtown, Penn., SSS =e : : ee built about 1710, is one ot = the earliest extant in America. In its simplic- i: ity of form, the small- i f if 4 . . ; . : | ~ i ~~ ; ness of its openings, the t Be use of partially squared i logs, it resembles the { = ae : Ay | at homes of countless of the PA iy Hae e | e *J a early settlers, without | i distinction of locality. ee Le RS | Fe “ Bf ise nae ae LOG CABIN NEAR oe ae y > YT Ta , pen order . —— ee ae DARBY > I ENN a a oe - TT he SYLVANIA BSE Toa eae wae aE iy Tn SSS eS ee gt ANOTHER early Pennsyl- — SSS OO ee er ere 4 . ZA 7 From a photograph by L. A. Sampson i te Dae na ets i - ie . ee ; : ie ie i t h i ry am oA = or ~ = = 4 Sy a ~ a -< 5 4 ates can eh ne ae a ne a = 7. «. as i te ne RS DE aaa = a a ~~. 5 a oS mare ; aor Re Be TNS ‘ RAPE eae 2 a “8 hy * 7 ~ = * ks a Ue ay) 4a +t 3 ‘d Ses bx OR AN 8 © Rau Studios, Inc. Ps re ee Te ee re ee ee a me ee et ee ica > AR Te ee Ne on pang ent a Je ewig 2 € . _ 3 $0 - ari s Ae = 4 - - Na Rhett Sala > che Saree ben ae >.EARLY EUROPEAN BACKGROUNDS INDIAN HOUSES OF THE EAST COAST OF AMERICA THE early immigrants found a country largely covered with dense _ for- ests, and inhabited by Indian tribes that had already achieved consider- able progress in communal living. Early sketches and maps show many views of Indian villages, and prove one type of building almost universal among them — a wooden, curved- top framework, covered Jo with hides or skins. Yet this type of Indian build- ing, common as it was, = B = ~ - y —= + — wT Foe, " ; oe jee = 5 or ets 3. HN ~ —Wievte i , ‘ ae Fae, ‘ he ‘ > ro Ss D we ‘Y. =. * - “a Ae bak oer = > > = yy 3 : - = » oo vrs . rs EE : eres Fy ¥ 7 La A= 4 , ‘ ' Ps ; 7 Dow — ~ I = iy in =. “ bir 4 aes : c ; = x: . ed “Oey 45 hat \ > S “ t = ¥ = " > -~ A\t J ae S \ 4 aT = ea -* " . co . he “ 2 x fs 2 ” - » “1 o ¥ a - 1 ee Pl \ ‘3 . and admirably suited to the materials at hand, ee ee teed exerted not the least in- fluence upon the building of the European settlers. Their memories of the places they had left were too strong for that, their customs too different. They aimed to create at once in the new home a replica of the home they had left. ate) 9 aaa an V —_ in Virginia, from Theodore de Bry, Grands Voyages, Part I, 1590 fi we . Ha. Rdannie ao. a. £&: i bes Fey! l— Magu Ad Wy Hi | hy 3 ae Qa Port iS" Lous: . é) Oy) $ © hy, i fi gu AAA : i (bs &) 1h. —— LO Map of Plymouth Harbor, from Les Voyages du Steur de Champlain, Paris, 1613 ee eyhe vy? @ PORK AE Mien nope meee 7~. oe 16 THE PAGEANT OF AMERICA bed i Dar sleet Lye beh Ut) bs td eae ta A -* - ee “ a tnd Pot dha eal a bab hieh Sek aed Sli ete tk Die be bbe tet bho be ENED. etnies Per “ Peat = Ot - en earch edt deb he ek ee th Si ir ier Pe ety a ee Pt f a bled Seretl bed Ane edd oe " af wt rT ‘ 2 hee IP hee ay bor 5 a bn! Be ha ie Wea " a, a Ooty ae! a a es Gi N/a Sempecaprwa nna Re) a on : ; wire ‘\ ae ey "oa. or JAS : MS ee we — 7 ‘ Sars fet Seana! ~/ wart, on Lg © Sata een a y . ; rah wre oS A a tee tnd SAME a We tis Ee Gi ’ : Su ES ory Saat ery a iY my . rs we Teper ix = ht ‘5 Ce te = Sit oR Naas ed Re a . - s ete eee ay eM Sortie BT Steen ara hy “eee Bens: lesa say aang ca ae % fae. ‘ , f Ae f " 6 C . tr “s ; . ; \! os” » \ yy ress y . a q TT ~~ * ; ’ ahd Po? “iy i tha" _ 4 ‘ * e. (Based Ley) Chrage ‘eo? a . TS SR Pa bf st 4 yet at , Pie sspaeieaal oe RALS >. HEELS tye y” CERO IRE Dry Polar nN ia oe PMC TET Pie oO be NAM ery bite Wii ey Re se Hitec Ta shcs At) eden . -, POSS og Si LOD ARN OES CaP se sev A SAT fF ORY ae pint Se : i te Ohio at ana! t ev 11 Courtesy of the Committee on Old Houses of the Connecticut Society of the Colonial Dames of America . THE NORTON HOUSE, GUILFORD, CONNECTICUT TxE Norton house at Guilford, Connecticut, was built in 1694; unfortunately it is no longer standing. AI- though later in date than many other existing houses, nevertheless in the simplicity of its timbering and its diminutive windows it is a perfect example of the earliest buildings. Note its similarity on the one hand to the Downingtown log house; on the other to the cottage type oo = (No. 3). ~=It is one step) further | toward the reconstruction in New England of the loved atmosphere of the England that had been left behind. SS = ._ - oa + ALLYN HOUSE, PLYMOUTH, MASSACHUSETTS Tue Allyn house in Plymouth, shown in an old view of 1823, is typical of the larger framed houses which followed the first shelters. Its overhang, its central gable, its E: i ; ;;: a ie é 5 ‘ . 4 i 4 be. | oe 4 OI ee yaad dit fj ie i i ¢ a }: P| phe he bis r . fe fb rs (i. Er! Be Me fh ae ie rf ha oe iy é ei , © 0 . 4 PASS a es = = ~ a ' ra at ber oie _ sate AT Ere eat ee ene st oy 1h: - | > leg | > ‘ase t AS Ne oh ~wh . ae Ree bee? alamon< -panet ; eader casemen windows and the simple doorway all reveal the attempt to be, in the new country, as English as climate and materials would allow. Nias se cote ta tae Ne cet a Bel Se aloe ha bhi Nhe tc asin hie feet eb Yak ae) Rae de Or SPS Nin te . Se Pe ed or “ =~ he ae Sa . ‘ 12 From William Tudor, Life of James Otis, Boston, 1823 vt ge Es Kee ot Poy KS pay a aT Le Ie Sree YY VT PPE CTT eT STeT MT et ee A OY Fae PY TIT eT FET aa laseeee ema pare | autae ‘ orn [ a A > i rar Sep ete P ir tore @ pe ef , Pa)vie , c p , F . 7 . oo Ee yl be a ae ba Rese er Sa ee EP es F F f , + 7 4 a | ' Hi ar) ' AL Pa ela | ry ' ; 4 ry “hE jon of on r Php eee Le) BM d aie ‘ , Lee Bie “PLP ae A we : . . ‘ rn ye us ar ta oe ; , aa : ' a es . ' ‘ t apse od é2 ; Fi ' A + "" meee eet y we pte Pre a in¥ iw a Ri ET Pea Pes ae U Ao F a io ~ i! i A 4 cite ee 2 EARLY EUROPEAN BACKGROUNDS 17 FIRST MORAVIAN SCHOOL IN PENNSYLVANIA, 1742 THE attempt to recreate in the New World a new Europe was constant and natural. Its achievements PY Balan. | Gl ir a Beate ee ONG Para ees ein Pe an were often remarkable, |¢ “cxmsWW), \act colin gene Paes REMAN RIN but it was the tradition of the Europe one had left, or that one’s father and forefather had left, that was remembered most vividly. This accounts for certain strange sur- BEET eS vivals in this country, | var: such as the first Moravian School, at Oley, Penn. ie Pe ae ¥ ‘ . 7 - EY, = en = A = PEt pt, Fy It was built in 1742; Lee Se Ter Eee Cn Ree 13 From a photograph by H. Winslow Fegley yet it 1s pure ““medieval’”’ European half-timber in construction and appearance. Doubtless in the early towns of Massachusetts and ee Virginia many such half-timber houses — later covered with shingles for warmth — gave a homelike ”’ European atmosphere to the narrow streets. + . i tS 4 rd wa A * a A tee rr PD oar Tha oe - Sohal = ’ eat, < — ¥ Aaa Leen ae | Bs 4 . eel rs sc Site AR barrie ane“ P 4 ; are AW ¢ j “ay Se) Bh a iordinenene me AUS ee i TN } f hy vos UF tema a LA ' = i KY " fink my rn ’ a | HA bn makes a ¢ Oe iy Yo al is SLive a4 ry in; i Ce} © Frank Cousins OLD HOUSE ON MILL ISLAND NEAR BERGEN BEACH, LONG ISLAND e . . . T YUXT 7 _ we 5 Qc : >» @ > T* Tur Schenck-Crook house, sometimes called the oldest house remaining 1n New York state, has little super ficially that recalls the elaborate gables or the brick walls of the Amsterdam views. Yet analysis reveals, ;. and the dormers that grow so naturally and frankly out of the root, a feeling particularly in the roof forms The house was built in 1655; the porch is probably later. that it is unmistakably Dutch.bieued Unie ieee bab betel abe Eri tbr Tin Dt iit tie - - PS = - * ns oT - . - Mae ~ . a a ~ - : =. - “- as Lahore vterede abet a PLease ay ary - “Pid NS * mit ye ee 9 4 a oh ate irae be Coane rat Vee ae aot . ; r¢ Fy 7: Z 7 in te a i 7 { LM 4 H rf A. ie t Hi vi BY is i i ‘i FP a ee es i ie he ee Fe we nao rd fs | Fe ie Gy on a b r i rae A it, bs; an Ly He ‘: ry) Lib : a Le ae ie rf ge ri re Toe g. Bs. roo ony, By Id rie hei L a hi 7 Nc borhet abet t ss ae ae a hie) te aha bal ce Dad eats Wile ea ee eed tees = leh re | TR itd ed eh bel bed eh RA és, Np Se Aran Moai Me Bg pts, x ee E Pe eo Oe - -. - . es ee -=* +» te fed ee bs S

ae . a = > > a a — CHASE Ry lt THE FAR SOUTH AND THE SOUTHWEST ONG before the English established themselves in America, Spanish conte was proceeding apace. In Mexico Spanish power was most surely established and Spanish culture achieved its greatest American expression; and Mexico was the center from which Spanish ence radiated — northward into New Mexico, Ari- zona, Texas, California; eastward through Texas along the Gulf coast to Louisiana and Florida; westward over the Pacific to Mania and the ladies: There was an enormous contrast between Spanish and English colonial methods. The conquest of Mexico was achieved by alliances with rebellious fini ian tribes, and once the conquest was complete, it was found that the greatest wealth could only be won by codperation with the natives. This commercial “‘codperation’’ — often the most ruth less exploitation — was accompanied by much intermarriage, and the growth of a great body of mestizos. Moreover, the Indians of Mexico were among the most culturally advanced in the Americas. They were a town-dwelling, masonry- Beet ling, organization - loving Bee with marked decorative ability. They had a highly dev eloped art, whose use of surface richness was not unlike that of the Beniissanice Spaniards themselves. As a result, they early became capable workmen in the new style of the conquerors, and added to it something of their own native exuberant originality. These Spanish colonies in America were regarded as more than a mere means of producing wealth; they were great religious and missionary centers as well. To them flocked not only soldiers, adventurers, artisans, lured by dreams of wealth, but also in their train, priests, monks, clerical diplomats, eager to extend the power of the Church and the prestige of their respective orders. By aan of numbers and training they early developed a powerful influence in the Spanish new world. As they waxed rich, churches of great splendor and pure Renaissance character rose in every city. In Mexico the Jesuits found congenial territory; and in Mexico, through the development of Indian skill and the absorption of Indian influence, they pitied to a new and lavish richness of style. Meanwhile Spanish generals and Spanish missionaries were pressing north into the broader spaces of the American continent. First the Jesuits, and after their expulsion in 1767 the Franciscans, founded mission after mission in the Moqui, Zuni, and Pima countries, and later along the mountainous coast of California. ‘Tradition says that one at least of the missions still standing in New Mexico antedates by nearly a hundred years any building of European origin on the east coast of America. At a time when the New England settlers were content with modest framed houses in which Gothic tradition still lingered, missions were being built in the far southwest that followed as closely as possible the richness, the lavishness, the baroque love of swelling, broken line that characterized the last phase of the Spanish Renaissance. The Englishman preserved his civilization in the new country by aloofness, by shunning native contacts, except as temporary alliances might prove profitable in a military way; the Spaniard preserved his by absorbing as large a body of the native population as possible. It is characteristic of the Spanish penetration of America that the Spanish were the only colonies whose architecture was modified by contact with Indian building methods. In that fact lies much of its peculiar vitality. 18THE FAR SOUTH AND THE SOUTHWEST 19 3 od i Cire sitters aD. select mt eerN * * A re Naty ee We Fh a \ aeti~ & cS aa ey ie 7) Py Bet f . ¢ ec IN res ee) EAE ae 15 From Arnoldus Montanus, Die Niewwe en Onbekende Weereld, Amsterdam, 1671 PORTUS ACAPULCO MontTanus shows a view of the harbor of Acapulco in 1671, the same harbor from which the Manila fleet set out, and so later became an important link in the chain between the Spaniards in far-off Luzon and the mother country. But even in 1671 it has all the look of a Mediterranean port: masonry walls and tile roofs and occasional bits of thatch give the atmosphere of a settled European town, for by 1671 Spanish dominion in Mexico was already 150 years old. Only two In- dian huts in the lower 73100. YHE CATMLOAAL. CITY OF MLKICO right-hand corner give evidence that the town is in America. THE CATHEDRAL, CITY OF MEXICO THE architecture of Mexico followed styles in Spain with remarkable accuracy, due to the enormous strength of the Jesuit and Franciscan organizations — comprising many trained designers — who were able to produce at an early date buildings of surprisingly good design and rich exe- cution. The Cathedral of Mexico City with its neighboring Sagrario, begun in 1573, and not 16 © Detroit Publishing Co. completed until 1811, bears marks of all the Spanish Renaissance styles, from the fine classicism of its conception, through the Churrigueresque (overloaded ornamentation) of the Sagrario, to the rococo classic of the eighteenth century. Ce es i deas ie) 20 THE PAGEANT OF AMERICA : Patt ALTAR OF THE CHURCH OF SAN rE \ SEBASTIAN Y SANTA PRISCA c= Ir was in the later developments of the Churrigue- resque that the Mexican architecture, using native labor under clerical supervision, reached its greatest development. In this there 1s such massed and intricate richness — perhaps due to Aztec influence Porat — that in daring bravura (elaborated brilliance) it surpassed anything in Spain. Such is the high altar of the Church of San Sebastian y Santa Prisca, in Tasco, where the intricate decoration of every surface, the sense of dramatic composition, and the resultant atmosphere of luxuriance outweigh occa- a. VQ - “YO |S : eee oe ere | Nr con i cine Po + roe : - . \ = Sal a 7 7 Aah) Ph; a ae : ys et . a i ert 3 " D iS <, 4 hd + : ‘ . BY nn hand en a RAR IIe RIT IT TL BATTERS, sional crudities of detail. \ ‘ eee ae 2 — fo ¢ é "ia ale i z 6 4 F epee de eee et ten OCI et nn Tey =e - z Sh ara iD it ee bet erm e pet meri atlas Pies dated ek ee) eto alee ba et ULE DT hr Tarn ttn > = oe ae S45 5p RS Ba ted ne eae i sii ee a Cray PE eke wate rep : rl is . 17 From Sylvester Baxter, Spanish Colonial Architecture in Mexico, Boston, 1901, photograph by J. B. Millet THE COURTYARD OF THE CASA DE LOS AZULEJOS, MEXICO THE courtyard of the Casa de los Azulejos, in Mexico, is a remarkable example of an earlier type of Spanish Renaissance domesticated in America. It is almost pure plateresque (the earliest style of the Spanish Renaissance), with an admixture of Mudejar influences — that is, with the polygonal and pat- terned columns, and the fine-scaled ornament of the frieze and architrave, which are the direct results of Moorish influence on Spanish art. The Moors add one more to the long list of traditions that . contribute to American art. 18 From Sylvester Baxter, Spanish Colonial Architecture in Mertco, GOVERNOR’S HOUSE, ST. AUGUSTINE, FLORIDA In Florida, far to the east, Spanish influence left an in- delible imprint, still evident in the Spanish character of St. Augustine. A view of the Governor’s House in 1764 shows that the English governor merely took over for his residence a building of purely Spanish colonial type — the bracketed balcony and the engaged columns flank- ing the gate are full of Spanish Pa a a Pa aca tL Dad ee ah as ne aL 5 = ene 2 ad en he a. 5 + ‘ L ee oe ie Sa at ie | ane hae é Ja re i 3, tw, }, 1 i ~ ae ge pk a th Se Ra ath te tee ie ial thee Sea a Py of Sy, a pol F Aa pad Te . s = TY y. 5 yey r= wv ahi EG hee 1 i ae eis irs tk ORE me i Mie see Se are ty a oe) AN en a aS ee es SRR A eerily etre poo aa Pins SRN Sp cai atmosphere. 19 From the King’s Collection of Maps, Prints and Drawings, British Museum ee aR = - C4 nd hth Ra tr has ba Ee mk td parte Sahn Leanne bhi, en alate ano ae TO ey ad Boer SARE Rea ah hes See} Ara Se ‘ “a aN ~ . n Se aS ‘ Mer POP waa, — 7 2 aX Jae a ae rt Bs Maa ~THE FAR SOUTH AND THE SOUTHWEST 21 A BIT OF OLD ST. AUGUSTINE : AND to-day the stuccoed walls, hipped roofs and little balconies of St. Augustine have upon them a spell utterly Latin, a magic of the Mediterranean south. Here windows are spaced and proportioned, and broad surfaces of stucco gleam in the sun, with all that innate feeling for picturesque placing and quiet texture and austere sim- plicity which characterizes much of the smaller work in Spain itself. SPANISH CATHEDRAL AT ST. AUGUSTINE To-pDAy, too, the eighteenth-century Spanish Cathedral still dominates the square of St. Augustine. In it many of the characteristics of typically American-Spanish work appear. Such is the development of the open belfry, here used to crown the curved gable wall; and the peculiar mixture of rococo forms with cold classic orders in the doorway with its broken cornice and severe Doric columns. fy | 7 Pan a é 20 © Underwood & Underwood ZUNI, NEW MEXICO Bur it was in the west that Spanish development proceeded most rapidly and most romantically. Lured by legends of wealthy cities to the north, Coronado in 1540 and 1541 traversed much of New Mexico and the country northward to Kansas. 4: : ae Pee ‘ ue: The fabled cities he sought — and ile SD —S SS ) . Seen 21 From a photograph by the United States Department of Agriculture found all too disappointing — were the adobe villages, the pueblos of New Mexico. Zufi pueblo (No. 22), with its white walls shadowed by the projecting tree-trunk roof beams, makes an impressive picture. - ~~ _ . ay. pat . ar t AA “cf ey awe RS nid ds ha he ey 42° fel 3 t . Lad > i Ce te bah Sa ee eT Se ee ee 22 © Gramstorff Bros., Inc. THE PUEBLO OF WALPI A view of Walpi (No. 23), even to-day inhabited by Indians, shows precisely the kind of village the Spaniards found in the ter- ritory into which they pressed northward from Mexico. Walls of sun-dried brick, adobe, or stone; flat roofs supported by wooden beams that sometimes pierce the walls; tiny windows; entrances chiefly by ladders leading up to the terraced roofs; crowded picturesqueness — these are the characteristics of the pueblo. x © Underwood & Underwoodieee abe Ly a - . ore as = sikh oe 4 et THE PAGEANT OF AMERICA THE “OLDEST EUROPEAN HOUSE IN THE UNITED STATES” At Santa Fé, N. M., there is a house that tradition claims as the oldest house of European construction in the United States. It dates from the _ early seventeenth century. This house illustrates how the Spaniards, removed from the civilization of Mexico, in a country of few build- pled Minette hot the ee i. oa Inn. Tery “ a ee aS he bt . es ” - - roe Sats a ra elt teat rear eg t ieee et bee CLT LT mre et ec tee: Perhines ate Cat - . . ~ Ing materials, were forced to build in the native Indian manner, only add- 24 From a photograph by Clifton Johnson : oe : ing larger doors and win- dows. The end wall shows the simple roof structure — a thick layer of clay resting on crude wooden beams. REMAINS OF OLD SPANISH CHURCH, | SIXTEENTH CENTURY EaRruier still were missions; for though the dream of wealth to the north was an illusion, thousands of iy Indians were there for political domination and religious conversion. Missions and presidios were founded in many portions of New Mexico, Arizona and Texas by the end of the sixteenth century. Few of the earliest buildings remain. In Alamo National Park, N. M.,stands an old church, said to date from the sixteenth century, typical of the early Spanish adapta- tions of Indian building methods, a lonely monument ey > aL . ae re Oe } pi ee iy bf He. | a, s Ley. i he HF } z ae Se ie ' A 5-8) or i nape 4 co lahat eI to Jesuit missionary Zeal. Sra a ep ora mee a o/ = a, ah ee" Sch > , ; 4 x upe en te ae we emer ee phe ade SS 25 From a photograph by the United States Forest Service | J Si JOSEPHS CHURCH: LAGUNA, NEW MEXICO Even by the end of the seventeenth century New Mexico missions still fol- lowed the same crude build- ing methods. St. Joseph’s Church, Laguna, N.M., built in 1699, is as crude as the earlier example, and the terraced buildings be- side it are of pure Indian type. Only the decorative development of the parapet and the open belfry as a crowning motif show that ween a a a a th De elt Dies hele hdc, Waialann eh le alien Sie canbe hae ana sik - - : S Seas Hey he LS pa em i, e - Sa ' . — = om ote one ASS ae Lk hy ee, Asam rt 4 ~ Lh ot] het eden hele het he te eo te a eT oe Ae ie ea Th eS So NE a Janene - ~~ é oD SW Vit S «> ‘ an advance had been made. 26 Courtesy of the Museum of New Mexico, Santa Fé A tod heat er bate bot hf eet ee hd Nabe Bg Aah = S ae a 3 . tease Pe 5 ~ CT C4 ~THE FAR SOUTH AND THE SOUTHWEST 23 SANTUARIO OF CHIMAYO, NEW MEXICO In the church in- teriors of the time = | Sa Te a more of the Span- A Lis, "ets emmigmnnenin a Se ve ish Renaissance in- rh : Peaens./# fluence is observ- able. The church at Chimayo, N.M., is typical of many. Its crude roof beams have carved brackets of Renais- sance type; arched forms occur; and the chancel railing has cut-out balus- ters. The gaily painted reredos is characteristic of the type of painted ornament devel- 27 Courtesy of the Museum of New Mexico, Santa Fé oped by the Indians under the mission influence; full of their own native boldness and simplicity, but making rich use of the Spanish baroque influence with which it was in unexpected harmony. CARVED DOOR OF THE MISSION CHURCH OF SANTO DOMINGO, NEW MEXICO Tue doors of the mission church of Santo Domingo, N. M., date from sometime in the seventeenth century. Quite different from the crude- ness of the adobe walls, or the brilliant Indian painting of the interiors, these two beautiful doors, with their heraldic patterns so perfectly de- Rei Wea sic signed and so beauti- erase ti ur [iN - “ : “A. ] art prod A eet ote Set ay Na eects ECG) fb 1 ae ci Mey = fully carved, must have Oy Bai i Pa al ) “a ‘Meg =§=been the handiwork of Sige eay ! } a Spanish monk who here found expression for a taste and skill for which his barbaric and arid surroundings fur- nished slight opportu- nity. The town and its ei ES lew * ae i. Mont , ioe : church were destroyed & pS Ra ° : 28 Courtesy of the Museum of by floed in 1880. New Mexico WINDOW OF THE MISSION AT SAN JOSE, TEXAS THE greatest development of the Spanish colonial style came later and farther west. The Jesuits, who made their way up through Sonora and north into Arizona and east into Texas, were expelled in 1767, and their work was taken over by equally zealous Franciscans. The mission of San Jose Aguayo, founded in 1720 by the Franciscans, has a portal, with window above, whose scrolls and sculpture are full of the true bravura of Spanish colonial baroque. 29 From a photographae — 4, THE PAGEANT OF AMERICA ~ A i - Le - ihe aaa ee a bee betta bel et hee tee et 7 . + - c - Pete eel —s rs = P oer - ys Wa WER Ee Sie 2.4 Lo : ” > < = Soe wig, Ao. ne : s rT we Ra SR RE ts a eae | io ~~ Goaesre: i mo mld ‘eget <5 et 9 RE = i 7 -. | g ‘4 at . a a ¢ Fk Oe j re ir QO eee eee a nn et ey ae 30 From Rexford Newcomb, The Franciscan Mission Archi- tecture of Alta California. © Architectural Book Publishing Co., 1916 a ine br eats ore tetra opi Preset AF led et is bebe tL re Hes ge he i ele en 4 He es lt A od, SAN XAVIER DEL BAC, TUCSON, ARIZONA Tue church of San Xavier del Bac near Tucson, Ariz., like many of the Sonora and Arizona churches, has a dome: but it boasts a greater dome than its neighbors. On the interior as well, the dome is, in a sense, a climax: it is the only Spanish church in the United States now standing that has made any attempt to equal the richness of the baroque churches of Mexico. Its execu- SA aa Tih I lai eee ied liad oe) teh ee edhe oe eager here een ony ee or a9 a's ow = rm phy pap ga ‘Ey . me mS Aa . Rat Se Che Che Ser te 4 | 31 From pee lord TTA The Franciscan Mission Architecture of Alta tion 1S simpler and more crude, but the California. Architectural Book Publishing Co., 1916 fe a ? a wi : : baroque love of rich surfaces and the Spanish skill in composition broke up the lines of its pilasters and turned the spirals on its facade. THE ALAMO, SAN ANTONIO, TEXAS Tue Alamo, in San Antonio, REE we Texas, has a historical in- terest which has_ entirely obscured its artistic im- ~ portance. Its picturesque front is perhaps the most striking example in the United a “ States of the remarkable per- sistence of Spanish Renais- Vy ae eT 4 : ie 4 : ' | Wee i mg i P re «. Ly ri ae 4. a ay Gira be . Le pI i ri |? Ci i a by Lg i yt t Vi sance forms. In it no trace a aes of eighteenth-century classi- el bss Aa st he roe ® cism betrays its real date; pray hd ~ \ Nj eee ‘ cased or fgln ot SRL eet) £ Nama iN ws Z —_ . ’ me - 1 % <——- — - EE # » + r ge . it pds 4 wt he +o im A {i} 4 4 $7) AT ys ry x te ‘ 7 Posie? Be a ok dh, ut ee ' vy oD ph yee oe acete CE ® instead, its composition is typical of Spanish baroque a ] ‘ ita a RR okt. . w: ASE [Se ef camrieee TS he a ot feeling, and its shell-headed rca re ee ee a mee : RTH ree eee os niches, its flatness of orna- : ty Ree eat ee $405 ia oer! ers ae fos pgs mae a pon he . nie by - \ ment, and the flat wide frame ee steers ere ae of its central upper window are reminiscent of an even earlier style the Spanish bes beh ted tear bod Sats ies eet hete he tbat Eg Or ne 8 ee Ty ee ns Oe er ees * Acar — be ly ot = Wh . as Sie See ete plateresque of the sixteenth Hie Mk Rae an mage at Sea Sea ah (i centur , 3 eRe Ni wee eye ee sR En Nie ee a PR Read BS SRO Tag y° 32 From a photograph by the United States Department of Agriculture Sal Kohl etek Lt hal tat be LA bn, Se AS he htt CL Py a) >THE FAR SOUTH ii AND THE SOUTHWEST 25 33 © Detroit Photographic Co. FRANCISCAN MISSION, SANTA BARBARA Tue late eighteenth-century missions of California are the best known Spanish monuments in America to-day. Like the Alamo, they are remarkable survivals, in a distant colony, of the earlier fashions of the mother country. Santa Barbara, for mstance, dates from 1787-1800, yet its double-towered facade and its arcaded cloisters, straightforward and beautifully proportioned, might well be a hundred and fifty years older. BELFRY OF SAN GABRIEL MISSION, CALIFORNIA THE same feeling for straightforward simplicity, for sure proportion, for picturesque and telling outline, shows in the famous belfry of the San Gabriel Mission, dating from the early nineteenth century. us ‘ LL Fa} eRysrTi tS . i> 35 From a photograph by C. E. Watkins ee a > Pee mn ae ee = ig Chi Gea SN ef 3 A Dak tare he in Ry cag ROD dat, iat . fabrh~oe Mo 34 © Detroit Publishing Co. SAN CARLOS BORROMEO Or the mission churches, San Carlos Borromeo (Carmel) most completely reveals the strength of that mighty tradition. Built 1773-1797, its curved gable end, its two unsymmetrical towers, its arched doorway, unusually California, and _ its elaborate for strange baroque window above give it a sure effectiveness, Spanish and Renaissance, unmatched in Cali- fornia. Modern “restoration”? has unfortunately robbed it of much of its original charm. Cet ge i) hy j i ( a 0 Cd 5 ra 1 es r H a . J ta i Me he Leal 5 cs i My x ° = 4 a bes a 37 oe ae VEN SZ A 26 THE PAGEANT OF AMERICA Seb bebe el era Let ane be! Vr ope se PG tt “-. . . - * - — - - os S o* . a or + ru - bi it rt ea aerate ot eer he bee ree eT a * . rr ™ 4 A ae 4, ae k meade f “ ain a a by me ~ Chi cet & “*) Seeger ta tie: i c aA oY 1 . bs f oe arta mo! oo re 4 ,, oa Res ty . ‘ et y =! 4 3 > 7 * ~ pack Sh ine Dlg RS Wx ES Oe 5 we a oe ? ey ¢ — ST ee a la Seu ; “ Rte se ot FA be ee, ale nt ms > fF - } S- 4 qi See x rin a } bi: ae i} be a bt g ry A Ly i Ae nae i) he ao ~ ae a. ie y 1: "a ’ i Ps P we at Laws we a oe tar eS t Ls . G> Oo From Rexford Newcomb, The Franciscan Mission Architecture of Alta California, © Architectural Book Publishing Co., 1916 SAN LUIS REY DE FRANCIA, NEAR OCEANSIDE, CALIFORNIA One of the largest and most developed of the missions was San Luis Rey de Francia. Early travelers speak of its beauty; indeed as one came upon it suddenly, deep in the wilderness, its long white arcades, its court, its gardens, its chapel must have had an aspect truly palatial. It was finished in 1802; yet at that time, when all the East was under the sway of Adam delicacy or Jeffersonian classicism, in far-off California Spanish Franciscans were still building true to their vivid traditions of Spanish baroque. es i eats ann erat ith ie oe ea tal) bat Lal hee! Sa dl ed let Me Vac PP ee hy Rye ppc Ticks Bee a - rs a ™s &« a es at - . ~ Si as ~ Se a a . -_ ba ath ies eel tet Death: Tart ui Slee Sink kee Toe Lak teeter Dita clio Manatee Ite hen Phin! cae Eten Yt ae Pt ™~ the ae Norte a _ aya ~ oo Ss a pk i rs eee oe a hy ~~ ‘ . 7 ie ~ , ie s ; “4 f 534 so it io Se . pay U eed i 4 fe ee F ee b 7 Ph h F } a ee — rei , o , a ; 37 Old Spanish Mission, 1731, San Antonio, Texas, © Rau Bros., Inc. S r igh Var MOA Aerie he bs} leh ee tes bord eh beat) eke eee ee ee ee ed] ae ah th My TS Pee AAT a aa ae ter - i ee a a eta “ gt =CHAPTER III EARLY COLONIAL IN THE NORTH Y the middle of the seventeenth century, New England had grown into an ordered community. ‘The coast was well settled; towns and villages had grown up along the shore where harbors or river mouths furnished convenient locations and settlements had already pushed westward into the interior. The white population had increased largely in the “great migrations”’ of 1630-1640; the sparse Indian popula- tion yielding grudgingly before the tide, with occasional outbreaks into open hostility. A number of colonies had been founded; Plymouth, Massachusetts Bay (which included New Hampshire till 1679 and Maine), Connecticut (with its center at Hartford), New Haven, Rhode Island — and all of them enjoyed early a remarkable degree of autonomy and independence of the mother country. In Massachusetts there developed a veritable theocracy, many of whose ministers were men educated in England. The strong cultural influence which they exerted upon the colonists under their sway was colored largely by English tradition. The fine independence of the early New England settlers — all, or nearly all, of un- mixed English blood — their hardy and persistent strength, and their ability to combine religious enthusiasms with an English zeal for political organization made them ideal colonists. Under the general system of town autonomy that prevailed villages grew up apace. In Massachusetts Bay the strict enforcement of an intolerant religious unity, while it was responsible for much bitter persecution which forced dissenters into other colonies, provided, together with the town meeting system of local organization, tor those who conformed, an environment of order, security, and harmony admirably fitted to promote the rapid development of colonial culture. As the villages grew, so did the few cities that served as market centers for the country behind. Artisans began to immigrate in increasing numbers; shops became numerous; greater and greater consideration came to be given to the amenities of life. Yet for the most part, throughout the seventeenth century, farming and fishing remained the chief industries, and the ministry the only profession. As a result, all sorts of home industries — spinning, weaving, quilting, and all the varied activities that a home requires — throve. Despite the growing importance of sea-faring, despite the growing number of skilled ‘ngland remained remote and money scarce. Only that was bought which tradesmen, E could not be made: the colonist of those times and his wife had to become true ** Jacks- of-all-trades.”’ The rapid development of New England inevitably found characteristic architectural expression. As he learned the necessities of his climate and the possibilities of his main material, wood, the colonist put this knowledge to work in devising buildings that em- bodied his memorv of those he had left behind in England. Casement windows, steep roofs, overhangs, gables were the forms he used; but he soon found that half-timber was impractical unless covered with shingles or clapboards to keep out the cold, and that shingled roofs were cheaper and better than the earlier universal thatch. ‘The closest Q7eee tet ie ik ber et ok belt dt re 5 ; FORT Re beh eT grh oS he ae mad le hla tee i baad beh neha R ; Peale Ske ~ ssa Rech, Secs Yoo Yeeeah enh 1k ate Nd seit Ninial an il teed, hie ie thon tt ee et Ser Ces eS ere ASP er es Oe Re SES - pe os ket ea + a =~ eo “ 7. a a - - ee ee - +e S . + 5 ah ‘ Pal b Sd — ~ —_ 3 ed theaters rede antitel lid Cited ae et t-te te partied tat ak fie any Po * = ae me Ld J a pi be typ Cb a mag pide a a oie rd he oy SFR ae 6.8 Pe Na i eee Ba tae le si Olney ole oT tee thd ete eh oe oN rR Re ke EE SA Ee soe Se “ a. es a pe. “ oe i Nh a adel it Ee tle tet el Dl ee he | yeaa) a oP tres 9 aoe ee eek a —_ a . ‘- =. in {Teer ee Cay ey em hh Che > ~ 28 THE PAGEANT OF AMERICA ~ reproductions of English forms, such as the “Old Feather Store” in Boston (No. 51), were naturally to be found in the cities, where communication with England was most continuous. In more remote rural districts, as the settler’s memory of his former home grew dim, and a local technique adapted to conditions of winter cold and to the abundance of timber gradually defined itself, the simpler forms were more and more developed, the complex forms less and less used. The Doten house in Plymouth (No. 46), with its simple gabled roof, is typical of this development. The Doten house, moreover, belongs to a growing class — the so-called “five bay house,’ with two windows on each side of a central door — which was the foundation of a powertul tradition that has dominated much American house design ever since. The overhang, on the contrary, framed or hewn, as in the Capen house (No. 41), and the many gables of the Feather Store or of the “House of the Seven Gables”’ (No. 50) are but isolated examples of a fashion that died without architectural heirs. Similarly, in Dutch New Netherlands, simple houses like those of Old Hurley (Nos. 61, 62, 63, 64) set a type which was followed in houses along the Hudson for over a hundred years, while the more typically Dutch stepped gables of Albany and New York were replaced by buildings of a different type and are known to us only from old prints. In church design the New Englander had few precedents to follow. His church must serve him as town hall and courthouse as well. Furthermore, at least among the earlier colonists, any resemblance to the hated Anglican forms was to be avoided at all costs. The result was the square meetinghouse; a direct and simple solution of the problem, whose influence, strange to say, persisted long in town hall and courthouse design, al- though in church design it was early absorbed and replaced by the classic influences of the eighteenth century. To Pennsylvania the Quakers brought a culture more advanced and more sophisti- cated than that of the average New Englander. Their proprietor, William Penn, was a person of note at court. It was natural, therefore, that the Philadelphians, after their first cave dwellings and crude shelters, built in a style more affected by the growing Eng- lish classicism that followed the return of Charles II to the throne: natural that the ‘“‘Slate House” (No. 67) with its brick walls and hipped roof should be classic in spirit; and natural that in early English Pennsylvania it is almost impossible to find a single trace of that Jacobean character which distinguishes all the seventeenth-century building of New England. But throughout New England, too, the classic fashion was bound, sooner or later, to penetrate. The continual immigration of artisans brought to colonial ports the current English fashions and techniques. The establishment of a royal government in Massachusetts in 1684 signified not only the passing of the old colonial charter; it meant as well an influx of many British officials, the marked tightening of the bond between England and the colonies, and the establishment of an Anglican church. Together with a tremendous increase of shipping and of travel that characterized the time, it meant the growing importance of the English fashions of the day as opposed to the memory of England of the original settlers; it meant, with the coming of the new century, the passing of the last vestige of Tudor and Jacobean tradition, and the final dominance of the classic Renaissance.EARLY COLONIAL IN THE NORTH 29 THE FAIRBANKS HOUSE, DEDHAM, MASSACHUSETTS For the Fairbanks house at Dedham is claimed the honor of being the oldest house in New England. The oldest portion—a_hittle over half the central block— may date back to 1640. In roof pitch and general char- acter it is early work; but it must be imagined with casement windows. ‘The left wing shows the gambrel roof of two slopes that was a later development. 38 From a photograph by the Halliday Historic Photograph Co. THE WHITFIELD HOUSE, 2 me] GUILFORD, CONNECTICUT Tue Whitfield house at Guilford, Conn. (Nos. 39 and 40), dates probably from about 1640. In its ——— io erty oe 2° 2 asebeeetts F . . . aie | Bai. SESE massive end chimney and its thick | AIS aie WN sossoee a7 ne | vy . ; vA Bee walls, it is unique in New England, BRR er press, eg. : at - P . : = Waa ae Ri ee eae, An and more characteristic of English m= ee Re A i i nt ey a UP ae oe CD types. It, too, undoubtedly origin- > tne RE AK a ally had smaller windows closed with leaded casements. The little chimney is a later addition. This house erected at the beginning of the Guilford settlement is evidence aes RCS i Sars Sent Tee 1 of the substantial character of many 39 From an engraving in The Ladies Reposttory, about 1840 of the settlers in New England. G od A q ee a ae -—o. 4 OF 40 From a photograph sel ah ds 1 1 al ne ed ed al ed Saal el dellcitar oa Ly a - iz PP oe a Pras, Ft re DV ee tat eller eal eared ated bet bd Pk al hae ation Pte el bet ina beet bal leh tel eh Let sehr Ea ta bk ee ae age eve : . ar a re Ra Rae ie a : he iS , ets 2 eS ~ Soa a —— re a are - = be tee ete te i hel ee a et Pe ett tt ae es ‘e544 %25 AG Be 8) br ae a ae ——_ ~ a a * ee is _: . ; 5 ate SI aS ah: a a ‘ i? hey RY pe Pe Fy 7 4 Fr] ae a j ry 4 'e | e ’ fi ‘¢ , a a a ie a. ee } fe ‘a ce Rares tt ald ayer ee area se pt i) a ior, ai Cat 5 se FN a a ec lt Nate tl ke Re et te hat kd tee Pe en ee ai Pa 4 ate . Caer ae Part Pee teers <7 n <.* a Tame ta ~Se * Crete ibe. tal hatte ted os bh > ay 2 7 Leda, ie ot ess a ~ iy, 30 THE PAGEANT OF AMERICA Ree os SSSA A HENRY gy OES TEER REN te AY UN TRO ga ay? Sat hy rar oy > eh p . AA a : Ss ~ . eh : U 7 ) iV A Ori . a u Lia \< roe i es chee : 4 wh. : > Ay aoe ’ A pe iw 7 5 Foc the ray} > ar eA Ny Pa Ry p> hf or ae! Pah > A CE ORNS ENA oa eta TE PIAS TIN TERS NY Spo PRO MA | on oily PL oe nas iaks PTR DAT Cardke HR Be PATS A av VES A es AUETR eS AoE | SEN ROR ME Re PR aS ae ere co ipaae 4 Tera ARC Rta 4 ) ns 4 Tee Pe ea AD ein fe oh Sh Thee Rib pny ee { , e : , ‘ “rue ; Soa) is nes 4 Neto FY oe NTS ay EE OTE ae : : : BAVA RES : tei 4 Ne jee PCS CARY te ui ay yy ey wae “GS 4] © Topsfield (Mass.) Historical Society THE CAPEN HOUSE, TOPSFIELD, MASSACHUSETTS THERE are two types of overhang used in New England houses: framed and hewn. The Capen house is one of the most perfect examples of a framed overhang. This overhang with its great brackets and drops, the casement windows, and the large chimney, bespeak its English ancestry, and its charm of proportion the fine taste of its builder. Although built in 1693, well after the frontier period, its forms are those of England a century before. It is American Jacobean. 42 © Topsfield (Mass.) Historical Soclety THE CAPEN HOUSE, INTERIOR THE interior of the Capen house shows the same fine s . . English simplicity. The beamed ceiling, the molded —— - ee = corners of the great girders — summer beams — and = Smet aniee.) iH istovlesH Society the simple board doors are all in the Tudor tradi- tion; and the whole is a rare example of the surroundings in which the New Knglanders of the seventeenth century lived. The stair hall is full of the same fine primitive sincerity. Note the front door, on the left, made of several thicknesses of broad planks fastened with nails whose heads form a pattern.EARLY COLONIAL IN THE NORTH 31 WINSLOW HOUSE, MANSFIELD, l) MASSACHUSETTS In the seventeenth century the sturdy Eng- lish settlements took firm root in New Eng- land. The Winslow house at Mansfield dates from the last year of the seventeenth century, and the growing lightness of the balustrades and newels, and the use of paneling with moldings mitered at the corners, are indicative of the movement toward greater refinement, and the classicism and perfection that marked eighteenth-century work. THE BOARDMAN “SCOTCH” HOUSE, SAUGUS, MASSACHUSETTS Tue Boardman “Scotch” house at Saugus, Mass. (No. 45), is the earliest house that can be positively dated by documentary evidence — 1651. It was oH DO Ste et ee Courtesy of Winslow Associates Inc., Boston built for Seotch prisoners who came over as indentured servants to start ironworks at this place. Besides the chimney with its vertical strips, and the overhang, notice the break in the front roof slope, which is an unusual touch of refinement. THE DOTEN HOUSE, PLYMOUTH, MASSACHUSETTS Many early houses are without overhangs, some but one story to the eaves. Such is the Doten house at Plymouth (No. 46), built near the end of the seven- teenth century. With its four windows and a central door and plain roof, it 1s an early example of a type that persisted in New England for at least two hun- dred years. hee... tee, _ - + ” 4 «hin Fe age = 45 © Halliday Historic Photograph Co. P : Neots . | ae 7G 4 he me eh —) GO ch A ; hi £ HT es or “ae na ere a Hae Rr ir Hs abs pas A ‘3 ea Tie PATS te eT! Pe Ps es PS re ea Me 46 From a photograph by A. S. Burbank, Plymouth Pe Se ed Ae~ bad + ae ‘waz a - oo 32 THE PAGEANT OF AMERICA THE PAUL REVERE HOUSE, BOSTON Domestic architecture in the towns — Salem and Boston — was more English, more sophisticated. Even the Paul Revere house, built about 1676, clearly belongs in a city street. Its diamond-paned windows are restorations, but on almost certain evidence. ‘) ‘ ~* é Ke , La iS “fe \\ GA. LZ } TTT, y i es een a S A A Deer) Bik Rebreathers (Shp aha by Rien) ata ied aetna Siete bebe roles Dt bob nt hr tlt TT eat sey r = ye x - eS S ~ E ad - Ps . - oe? . - - _ oa edly oa b Bh Pip ERE ek £ i] / lL ohh | r Hl ones. | . : eee r bere | ae ee” | ae » , - See ~ 4 . . / “OG < = os 3 4+ gh Pa &. A a ’ ; f 7 s “ , p a # pt =~. - ai Be 2 + 4 <_< aa “4 . b 5 Ses 5 4 . o* nk) Se q os - ; - A. - , P 4 * . “ A , Z ~ ~ a rk be. | » Pie. 48 © Frank Cousins THE MARIA GOODHUE HOUSE, DANVERS, MASSACHUSETTS : nae SYR eater Tur Maria Goodhue house, built at Danvers, Mass., Rn ee RRS Lhe RO SRI : ees 3+ about 1690, is one of the most noticeable of the 47 © Detroit Publishing Co. : ; houses without overhang. The many breaks of the Face rm ey ci : £ . fe. 1. ee i. S Os Bi tae ae f é § a i ee I ? ry i ri Ei | a) % 1 ee Sea i $e --J a E;. We ie ; en ie rd oi fs D i f ( chimney are evidence of its English heritage; its general scheme is the familiar one with five bays on the front, and a lean-to behind, but it is unique in the plaster cove under the eaves, a charming and unusual touch. [etn a Si ad ee ota tal Nl ein tae ea Pe tact al al Nt Ye eed cl oil he “, 4 wee _ a A + ah ° ~ — a ae = be — s err. es | oe ee ~-. - - ~ “ - o ~ yee © 4 na” y x ns PF ye on ies mats infok he > MESSRS RES oa > x w > Rags aks = ; SS rcined ef a , in =| med ] ~ Ry a sortie AMSA PS Er re {188 RENE Se 49 Courtesy of the Essex Institute, Salem, Mass. THE WARD HOUSE, SALEM, MASSACHUSETTS Tue Ward house, built in Salem in 1684 and now restored and preserved by the Essex Institute, shows the many gables, the complex chimney of true English work. It is one of the best examples of the type there 1s. Na Dah rhaleteeta ot) atari he bacon tert tee hie ete chit bh bse tel) Fg ne ee ee ess ry * ade She ellie adil ie on - an ae * ap ie =e a) % — — ee ya a “ . ~ " tS 2405 ] . es oe “- ~ I Py im Fs, P = 3 cee r « =~ « a ~EARLY COLONIAL IN THE NORTH 33 Pts PRR mL a4 —_ © Frank Cousins THE “HOUSE OF THE SEVEN GABLES,” SALEM, MASSACHUSETTS Tuis famous home of Hepzibah Pyncheon, dating from various periods between 1660 and 1700 or later, £ shows the complicated picturesqueness possible when the many gabled house is added to again and again. reel Oe Re tie Mag ; a a ieee iy CVS URIS) © Sn Tae aa: ie bie poi: ly 1 oh ant ATS Vege : “ j iy o i BR 1} i . \ J A Pt . 5 uJ ql 8 n er 4 N ~*~.) GOVERNOR BRADSTREET’S HOUSE, SALEM, MASSACHUSETTS Tur many gabled English type reached an early climax in Salem in the Governor Bradstreet house, built in the middle of the seventeenth century and destroyed in 1753. Its nearly monumental size, its symmetrical dignity, its twin octagonal turrets that flank the curved-top, nail-studded door, all reveal a skill and wealth we are not accustomed to associate with Salem in that early time. ma) ang ————<—————————- “ THE OLD FEATHER STORE, BOSTON More English still, however, is the famous Old Feather Store, of Boston, now nomore. It might have stood in Lincoln, or even in London. Its gables, its brackets, its overhangs, its picturesque out- line are English, and English of the Gothic rather than of the Renaissance tradition. The deco- rations on the stucco are to be noticed, and the date, 1680, on the top of the gable. From a print made in Boston about 1830 | | ) 6 a? es = — aN ar —<= a" iS - XY ‘ x fh be 2 c be £: - e Se 1 Sat ae = D) f See & é Zs cl ————_ 4 oe i . Fee ae t oo i r=: = 4 at - “ = A. HAA = ine a ab E . be > £74) (ars ee é CON ee eee iy Nl oe ae ~) 4 es oii eg eee Tape yaad ; a ‘ | . ‘Nees , meth 4 —— = oe Sees i eee “pre Wind ys ‘—- ¢ Frank Cousins of an original drawing iG U ee ‘ities tS 1) od re Pe eeearl a 34 THE PAGEANT OF AMERICA SRY 0 ee ofa ys es ete a ge THE PETER TUFTS /oae HOUSE, MEDFORD, BS. MASSACHUSETTS Ope Tue development of ma- oo sonry building was rapid. One of the earliest brick houses in New England is the Peter Tufts house, at Medford, Mass., supposed to date from 1680. Its use of end chimneys is to be re- marked; they later be- came common. The roof Pe a i Ag Ape ed fared Sie sal Se es eine is one of the earliest gam- aS are So wee aes , max brels, if not the earliest, existing in the country. Originally there were probably three grouped casements under the brick arches where are now two sliding sash windows. The dormers are modern. biehetihettaatinret paar ramen tras ' Cis hk he deters teed beled Saal eather bik ober) bled *) Pr nM re x 4 Ries ra) « 7 - 3 4 J ri = a ie bead, it appear all the classicisms Sir Christopher | aT nc A _ ORME De Wren was using at that time in England — ‘ | balustrades, colossal pilasters, a curved pedi- | arse va Be Be LT = = eH ne ; iy = = re Va Mt ment over the central window. So extreme is the contrast to the earlier work that one wonders if this were not possibly built from |=—= designs brought over from England. It is prophetic of the century to follow. | | {| ea | af “THE OLD SHIP CHURCH,” “Si > = HINGHAM, MASSACHUSETTS a ah THE type of New England meetinghouse was RE : early established —a simple square or rec- iseeavstipto= ee Fe 2 56 From the American Magazine of Useful Knowledge, 1836 tangular building with a hipped roof and a belfrey rising in the center. The “Old Ship Church” at Hingham is a typical rectangular meetinghouse. It was begun in 1681, but did not reach the present size until the eighteenth century. It was primarily what the name implies —a meetinghouse, but it was also used as a church as well as for many other purposes. THE OLD BRICK MEETING-— HOUSE, BOSTON Tue “Old Brick Meetinghouse” in Boston (No. 58) shows the same idea worked out in masonry on a much larger scale for a big city congregation. Its belfry was unusually delicate and important for the influence of its type by on later towers and spires. The view f 7 . vt — ia ss oa Bea ve eg ost io Pan ee bith a x is obviously a reconstruction. 57 From ap old ir in Towns of New Enoland, courtesy of the State Street Trust Co., Boston y Taal: Pe rah a ion Pe 4 ‘vi e ve a a a et? oom « y ay Rare ty r¢ rar. aad i hal , ‘wan aa Gal aa ‘4 renee x : " ‘ rey” Pier as ee js Sica cate a th 58 Courtesy of the Bostonian Society, origin of the print not known H A b t i 4 A J 4 J 1 7 i I Ff LY = E | a hd a 7 » 4 Lu 3 - ] S ft 4 ¢ * . ae aa Fi .a | | de) ae et 36 THE PAGEANT OF AMERICA Re THE OLD STATE HOUSE, BOSTON Tue climax of the earlier type of masonry work is the Old State House in Boston, the oldest existing public building in New England. Its stepped gables and steep roof belong to the period that had passed; but its consistent and masterly use of classic detail in doors and windows, dormers and cupola, points to develop- ments that were to come. Thoroughly English in its robust and sure strength, it is nevertheless a milestone in the development of architecture in New England. In it colonial architecture reaches maturity. Surrounded by the buildings of a great city it preserves the traditions of that distant day when Boston folk were subjects of the British king. THE SENATE HOUSE, KINGSTON, NEW YORK THE cultural tradition behind the Dutch of New Netherland differed somewhat from that of the English. The Senate House in King- ston, N. Y., is one of the earliest Dutch buildings still standing. It is built of rugged masonry; but instead of gables it has a hipped roof — — ee sloped from all four sides— and the typical hie eee! =~ small slant-roofed dormers that are to be found OL yrs el re te fin = = —— Cele tel ore) boot aad eel Ses ed t bina lek i abreast TT - - ie Nel eat el heer aD ed Vien el he eagle hd et Leh etd ot . . - -™~ a ~~ Ph et LE. ‘a Qs ge ret = : . ees A f rn ‘ r { Te Pee ME ed 0 ny aS .; pa ~=<==—=| again and again along the Hudson. It was orig- ~ 59 From a photograph by Soule. © Gramstorff Bros., Inc. inally a residence. ae ae te ae ae +P aa a t as 3 ae y i a ae Enea Nantes hs eae ala ele end ete note teen ne ee teh » = eo > =s ge “*« ~ ~~ . <,) & Ry MA pe SE ‘ = ‘ ; e. yee aN = es | i ‘ " C ba v . . wi PU 4 Abe Ae y } . nt ‘J , ~ -! cee = ¥ a Ts mb le oh *\'- ee ee ip pt me ri r* a east eee ae a 4 eee one, 2 7 ee , ‘a ide . 4 _ , oles sak ete o een eer hl ra Mig Me ze Th, re VA epee gatas 2h Rae a 7 - 7 ‘ ~~ ¥* eee 7 a Tk oot “ oT rig G2 5 Fae a y2 ms ites on Vo: Anes TOR ye. Ce : sw ; Ree es peer ae eee iw . oe tee yy —s ry Se |, SR ~* - : vei 3 - ary sin" 1 ‘ + me ae ~ “ ee , Pe ey = - . i 5 | _— 4. - i ina . oa celts ——— AT eet OL aps * an A 5 = pn +KARLY COLONIAL IN THE NORTH 3 ~ wn Ser AS er a se s¥ ee Fs ba i a * \ Ny a) = aia pe? arco e ~~ ae f ~ ” { ¥ ic “4 aay ¥ e ay SPERO % ' ; ete : ee ee aD . a ay : SA re ae te cake) vl — rptend <, hate eae a *, eas ; U ae i ve i WT hs 8 ey ee a ee oa aC. ' : , Oa LE hea | oT nif o> al tg Masel hs e ‘ os T cr == ve ve ~ ie , : = ~ War Fhe a * Omg es A ee ne ide : Fee ore 64 From four photographs by George N. Nash, courtesy of the New York Historical Society HOUSES IN OLD HURLEY, NEW YORK Oxp Hurley, N. Y., has preserved almost unchanged the spirit of the Dutch villages along the Hudson River. Built of the simplest materials, there was obviously no opportunity for the use of elaborate Dutch forms; the Dutch feeling here lies not in stepped gables or spreading roofs, but rather in a certain direct simplicity in the stone masonry, in occasional long sloping dormers like those of the McSperit house (No. 61), and na long, low picturesqueness of composition. fl Lf a by iJ at 4 Ll a ty } A i a a a *THE PAGEANT OF AMERICA Piet nth Dita lo Pratt Tet eed . : Mpa miaob Lato Lee 3 SA Tie Oe EE ee. pier, See Ee «> EON Re -} ieee) §=THE BILLOPP HOUSE ON STATEN ISLAND Tue Billopp house on Staten Island, builtin 1668, has preserved through an eventful history its old bial rato) . belkin atl lel ibid iL bth eet el ett) e ie ck aa RO he Fee P ‘ appearance almost un- changed. Its end chim- neys, and particularly the treatment of the end walls with their copings raised above the roof, are typi- cally Dutch. Originally the house probably had, like so many others, swing- oe hel bial teaehe ateta rian aeeerenier ad cad fit SO ee ao enim! ing casement windows. : arenes eae iat T oe EN taps ae: “" = m= = The doorway is later. m Pieetiec fart’ vse ; 5 nt sn ES i sige Co. te < “~ . eT Set oe I he : y 65 © Frank Cousins + THE PROTESTANT DUTCH CHURCH, ALBANY, NEW YORK Or the earliest Dutch churches, none is left. An engraving of the Dutch church in Albany, built in 1715, shows a character that is New England in type. In detail it is Dutch, nota- bly in the tall windows with their brick tracery, and the,coped and stepped gable of the little wing. Perhaps in some such building as this the worthy burghers in Dutch New Amsterdam thanked God for their deliverance from the tomahawk of the redskin. Ry fz vd iy f. i ‘ Bi Poa Bes ae Se Rae ae fe. D j , L Te J 1 rT] - i Bi eS, e ee Pi rr ae 1 oo Y to . ‘ a 66 From the American Magazine, Albany, N. Y., July, 1815 THE OLD SLATE HOUSE, PHILADELPHIA Tue Pennsylvania settlement dates only from the closing years of the seventeenth cen- tury, so that but little of the work of this century is extant. =: £. B Dea, ‘44 But what existed is much more Ba — Sa ae oS advanced than contemporary Sai work in the North. The Slate aS house, about 1698, was con- sidered the finest house in the province. In dignity and de- sign, complexity of form, and Sa Pe ee A oe ate A Nal Lal Ua ar ed es Cea oe 4 oe SA Oe Sat ida Cha - ? - = SA A o> S 5 ~ a -— ee aa —s . = > oe edi } cll 4 7. seat iat “ ’ + Yo 7 hy mee r Ao FARR = ——-H " s »* L bY - permanence of materials it 1s certainly in advance of any known New England house of the day. It bears more re- bata lata ths Neen ie len Del ie Rachlin Renee Yd es Wath Leni bien Dada teal tet ine eect eat Poe haat iene eet ae he ee SS se ta . an ene tbe es ig gg ta aati rt Pag oh - SS chy ie ek ~ ES ee * p a La yt 5 ee i ‘ ~ — Dil tna ae tee Ee ere) wr at “* .* eA eis i aD a , ae ; - MP Cede th ee SFE nee i gk pa ™ y Pee err BZ re : - " e ine Weseeeee| semblance to the English house Aipih S se te Delete ae ot Oa From a print, about 1830, courtesy of the Ridgway Library, Philadelphia than to typical American work. OQ ease ~] the e-¥ >. = me S es et MerAet Set het + a ye SiS: esEARLY COLONIAL IN THE NORTH 39 HOUSE OF THE EARLY DUTCH GOVERNORS, ALBANY, NEW YORK WeE are fortunately not without veracious evidence of the appearance of the old Dutch city houses in America. J. Milbert pub- lished in Paris about 1828 a book of travels through New York and New Eng- land, illustrated with many val | “ih by a . A ah a j ee ha a ix to 4 o Pet ie “4 » F wd. r Ps " i a. tt | Sa a { hid a i hs Q} ort Pe oi beautiful lithographs that seem to be quite accurate. His view of the old Dutch Peete Governors house in Al- § et we oe ae: Sati Gites a Sag ph ory acta Si 2 : RANE gS eagle pin oo Or Ci a RL hi aoa ieee ep eat bany will repay careful [iRaRaectees st pia eNO need yn ee NON h Soe ese eee study, for every line in it 68 From J. Milbert, Itinératre pittoresque du fleuve Hudson, Paris, 1828-29 is saturated with Dutch feeling. Although Dutch rule finally ended in 1674 this view shows Albany, even in the eighteen twenties, still predominately Dutch in appearance. TRAE es : THE WYCK HOUSE, SSN SR a ee AK PHILADELPHIA Z ps. SC , Tue Wyck house is typi- . - : y cal of the more usual form . ; 4 » . e oh ORS | of large Pennsylvania fea Rass | mansion. Its stone walls, S a a Goes Pra Dee stuceoed front, and care- oe TS a “4 yi a= Ny ' 4. te > } = . . aii hee |W eas fully placed windows 2 | | (ey a : show a spirit unsatisfied eek eo with makeshifts. Its total = lack of ornament places ™ it among the early types, SS io @S and helps to give to it an = air of austere yet wel- } | | . er ots coming dignity. It dates a 7 : from before 1700. 69 © Rau Studios, Ine. THE KEITH MANSION, HORSHAM, PENNSYLVANIA Tue Keith mansion, Graeme Park, dating from about 1720, is as stark and unornamented as_ its predecessors. Complex chimney forms are also typical of the early period, despite its date. ‘The roof, a queer form of gambrel found only in Pennsylvania, is due prob- ably to other influences than Eng- lish, for Pennsylvania was early a colony filled with a medley of na- tionalities. One hazards the sug- gestion that Swedish influence de- | termined the roof forms. 70 From a photographre = eae be pd beret be belo Nhe] Pha ph bee. eR 4 Ps e ere tee ry 40 THE PAGEANT OF AMERICA . / ?— a. Pit y~ te } Oly A en OLE eg — eae se i. v Ll i aplea Pena e ered wi Petey ae hie edd Mir wel hha tl ot ta ttt tee Tes ht ba! ayn - ~ et th —*. 3 rts ta pd - ar ma - te. © “s r 5 RB gr : E J AF Sls ete ah el eet ek to Say oe toe ee go mp ee Ne ee a - he A r x > en aa Pink ~ } of © Rau Studios, Inc. a oJ hh ie Dee . S.5 Le ta ry {i +7 ae b Fi oe oe et oe io-$ a i Ly J a, te, i $3 f f t: 0 THE STENTON HOUSE, PHILADELPHIA In contrast with the Keith mansion, the Stenton house, built 1728, is dominated by English classical influence, noticeable in the bracketed cornice, the regular spacing of windows, and the formal symmetrical composition. There is, however, no ornament save the cornice. It is a house bridging the ey simplicity of most of ee - Dames ‘ ates S S, Vr a At et ¥ / the early work and the dignified classi- cism of the mid- eighteenth century. ~ Fr r cs rer 72 © Rau Studios, Inc. a a = "ae 5. ee Bees THE OLD SWEDES CHURCH, WILMINGTON, DELAWARE Tuer Old Swedes Church, in Wilmington, Delaware (No. 72), bears, in its masonry walls and the simplicity of its decorations, all the earmarks of the earlier Pennsylvania style. (The upper part of the tower is much later.) Its name is evidence of the mixture of peoples in the early colony, although there is little in its design that can be pointed to as Swedish. IMMANUEL CHURCH, NEW CASTLE, DELAWARE IMMANUEL Church, at New Castle in Delaware, built, except the spire, in 1704, is typical of all the early Church of England churches in this region. Except for the transepts, which are much later additions, it is a simplified rendition of contemporary English parish churches, with many Gothic ideas still dominant, particularly the crenelated tower top. bal nl Bed ohare td i Rahn Btn leh tertile ahs bein Nel Rn head hd en bal nd fh Pola ee het et ae ht ee al et ke ae Tey en ay ao me el Se i) eee ws ee PS ly SS pie Tice i ie ies Apa Cages ph A get tg ie oe ~ a . . a ee te ah = » C2 = Sa Sa NE a = oe es ee Saltire Paw > tox be 4 . : bd > AGSCHAPTER IV EARLY COLONIAL IN THE SOUTH 5 the seventeenth century passed into the eighteenth the large plantation became more and more the striking feature of the ate of Virginia, “Maryland, and Caro- lina. This resultant of a Recombination of geographical and economic circum- stances lent itself readily to an increase of ease, comfort and even luxury in living conditions. ‘The vast distances between plantations, inadequately bridged by poor roads, necessitated the development of a complete social existence within the confines of each plantation. Hospitality flourished. The passing stranger was rare, and friends journey- ing by coach or horseback, on business or pleasure, made their stops with neighbors, even when only acquaintances, rather than at inns of which there were very few. Con- temporary letters and books of travel give the impression of leisurely and comfortable country house life along the banks of Hie rivers. In a land where time was valueless and haste unknown, visitors stayed weeks and months rather than days, and the inevi- table result was the stretching of the plantation homes to include commodious cuest quarters, often in separate buildings. In vivid contrast to the Borheen and middle colonies was the conspicuous absence of towns. In Virginia the sole exception was Williamsburg, founded in 1632, which, however, as late as 1750 boasted no more than two hundred houses, mostly of wood, and no paved streets. The absence of towns was the direct result of the self-sufficiency of the plantations, and their size was due, in turn, to the large individual grants of the Stuarts, made as inducements to colonization. The economic independence of the plantation is particularly noticeable in the method of shipping tobaeco. ‘The crop, which was the primary interest of the planter, was exported by each planter from his own whart direct to England, the vessels on their return bringing such commodities as the planta- tion rec quired. Thus the middleman and conse quently t the town was eliminated. In Maryland, too, the town scarcely existed, the tidewater section consisting of a series of manors which were as self-sufficient as the plantations of Virginia, and which main- tained many of the features of feudal England. Annapolis was only a village as late as 1750. North Carolina, cultivating some tobacco in the north and some rice in the south, was, in its early days, scarcely more than frontier country into which the least prosperous and exemplary citizens of Virginia and South Carolina migratec d. It was totally devoid of towns, with very few plantations or manors, and was populated almost entirely by small farmers living in rude dw ellings. South Carolina, though dev eloping the plantation system, lacked the river facilities of Virginia, and a lucrative trade in rice and indigo resulted in the erowth of a prosperous comnencial center, Charleston, which had a population of 2,500 in 1680, ten years after its founding, and soon became the social and economic center of the colony. In this town, the single example of an urban community in the early South, many wealthy planters maintained town houses. The center of southern colonial life, with this exception, was, therefore, and long remained, the country, and the life centers of the country were the great houses, the manors, the plantations, each, as far as possible, a self-supporting, aate contained, self- 4] Le we Ps Ae | Lee | Sa A he weisl inal et ie etal lett Liat lb lr le Et ai irempe ee = pe eRe A i nema Ty 7 esti genase. a eet dln 3 - A fot telah tae) as Sah TP ta = R 8 ye i a ee Ey ee oe Se, eg a eh oe a Sh eas res Ne ree le ee ER coed - a ae sil: ~* per ett raat cb tL a Bo na rope lah be Le ei ba 7 on ee ae bef co | 2 ae re i. fi Oe ie toe b: bi ~ pe ar , Paue ih at 5 Lf fe i My >; rf . a ee “<— bee LA 6 ee ge ee ie A re ae thes ee, ne De oT] a id Je a toe * dT > 5 Se sa em % mq a a a ma +t a oo SR as Age sea pe : = Se ESP A ao ty a, LNG ere A eS = 5 pas a hh od tae — ee — = . 5 42 THE PAGEANT OF AMERICA ff reliant entity. These, too, were naturally the architectural centers as well, and just as Boston and Salem and New Haven and Newbury port sought to become little replicas of English cities, so up and down the southern rivers the plantation builders erected imitations of the typical English manor of the period. These imitations were at times remarkably close. With all the wealth of enormous plantations to support them, with abundant clay for bricks, with the finest of timber along the river banks, it was possible even in sate seventeenth century to erect houses of a grandeur and a finish that New England or New York or Pennsylvania could not match till many decades later. Bacon’s Cactle (No. 74) is a salient example of the English Jacobean house in America; Fairfield, Carter’s Creek (No. 76), is another; and without doubt, before the eighteenth century reconstruction which transformed so many of the plantations, dozens Such stood along the rivers, representing in America some of the luxury of the England of the Restoration: Architecturally these houses show in their way, as early New England houses in theirs, the style roughly called Jacobean: a style in which Renaissance feeling i is gradually creeping, leading sometimes to mere caricatures of the true classic, but which is “still controlled by the ARidor Gothie tradition. Thus, in Carter’s Creek there exist side by side a Tudor many-stacked chimney and a purely classic modillion (bracketed) cornice; similarly, in Malvern Hill (No. 80) with an exterior whose classic details belie its picturesque Gothic form, there was once, in the living room, paneling decorated with the Tudor linenfold. The same Gothic traditionalicns finds expression often in the planning and composition of the manors, for the idea of the medieval Hall is embodied in several of the southern plantation houses, and in some there isa picturesqueness of outline and mass that is a direct legacy from earlier days. Manorial in its houses, courtly and luxurious in its Peedal social life, the seventeenth- century South could be nothing but orthodox Church of E ngland in its religion. Parish churches were built, with the memory of English parish churches deep in the minds of the builders; no meetinghouses these, but obv iously monuments of an official, sacerdotal, wealthy state religion. They are buildings primarily for worship, not for pu blic meetings, often small in size, but carefully des ioned, expensively built, and frequently possessing the quiet intimate charm which characterizes so m: uny of the rural churches of England. Of “ite early churches, Saint Luke’s, in Smithfield, Isle of W ight County (No. 90), remains almost unchanged to show, in its Gothie buttresses and pointer d arches, its « quoined tower and little stucco pediment, that very mixture of quaint half-forgotten Gothic and erratic classic forms which proves that the southern colonies in eyaren architecture, as well as in houses, remained for years true to the conservatism of their Jacobean tradition. In the meanwhile, as plantations increased, the small tenant farmer and the small freeholder population increased also. For them, however, as the feudal plutocracy of the plantation area grew stronger and more or ganized, life became more and more difficult, and they pushed man pouring finally w ach ard over the foothills of the Alleghanies and south into the western portion of the Carolinas and even Georgia, there to mix a other English and Scotch and Irish and German Immigration from ns North. The centuries have dealt harshly with their buil« lings: probably they were as simple, rude, and poor as the great houses were large and beautifully executed and rich. And as these people were gradually crowded out atid sought for independence on the frontier, their places were t taken by slaves, their cabins or huts fell into ruin and eventually disap- peared; and the few that were left fell under the destructive waves of the Civil War. The architecture of the early colonial South is for us, therefore, inev itably an architecture of great houses and parish churches.EARLY COLONIAL IN THE SOUTH 43 BACON’S CASTLE, SURREY COUNTY, VIRGINIA In the time of Crom- well some English roy- alists came to Virginia where already success- ful men were beginning to enlarge their land holdings. In the latter years of the century an aristocracy was forming. Some large manor houses still stand in Virginia which show to what a high level of development seven- teenth-century building was carried by the wealthy planters. Such 74 Peer BA dol) ti han if +5 bl Q sf 2Pisiie et ite diy < Fi rk Ur) y, } Hi 1 1 een WOR ba rh lo bs Hyeal yea cae eh 4 . wi ets 25 ~ From Frank Leslie's Illustrated Weekly, Sept. 8, 1866 is that strange structure, Bacon’s Castle, built before 1676 (probably by Arthur Allen in 1654), whose chim- PLasTixzp neys with separate clustered flues, high roofs, and curved gable copings are all typical of Jacobean tra- dition. BACON’S CASTLE, PLAN OF RESTORATION A RESTORATION, by Donald Millar, of the front of Bacon’s Castle, reveals this medieval character more clearly than does the present condition. ‘The sharp gable over the enclosed porch, with its little rectangular ‘‘ears,’ the simplicity of the brick- work, destitute of the least suggestion of classic ornament, and the mullioned and _ transomed leaded glass windows which were undoubtedly originally used in the large window openings, all x] on FAIRFIELD OR CARTER’S CREEK, VIRGINIA ANOTHER remarkable seven- teenth-century manor was Fairfield, or Carter’s Creek, Gloucester County, no longer standing. Built in 1692, it still retains the clustered chimney flues, set diagonally, the large roof surfaces, the rambling plan of an earlier century; but the classic modillion cornice shows how classic influence is beginning to seep in and modify the fine Tudor tradition. have the look of Tudor England. Courtesy of The Architectural Record a m3 | rf PAR . wo wT. Beal ours “i . ' “ ak ‘ ‘ ~ a en SS Ae : > aor oa ite wy! te ; HH Kg) eke Fry mate ee : ) Ff it aa Z - ' Ny aT 1 aw Jt eat es af ' eA I OES st St ae ; go Ane RS a is ra ST - - r ey phy ‘ Bo ae ¢ tks a iAerorie Sone - te» fix ee wr aoe PR ohare eS + - , & oe ee > , SA aN Ge et or tae ral sey ee, Bae , Pew . ie. thay r VY f ba me 716 Courtesy of R. A. Lancaster, Jr., Richmond, Va. Ae sw be ‘ ee en 744 THE PAGEANT OF AMERICA Ate elk rere toro STN MPs MIDDLETON PLACE, ASHLEY RIVER, SOUTH CAROLINA MIDDLETON PLack, on the Ashley River, S. C., is an- other of the old buildings whose form is reminiscent of the traditions and life of the England of James II. The curved gable ends were like those of many Oxford colleges. This large and Imposing many-chimneyed Lah atatren irieredee aot ol Poarisy oleh bach Lk ae Daal i bball teh ed eek oh Deen hake It a hi house of a Carolina aristo- crat is but one wing — the dam apy 4 77 Courtesy of the Charleston (S. C.) Museum left ee of the original plan- tation home. The rest was destroyed during Sherman’s march northward from Savannah; and the whole must have rivaled in size many of the manor houses of England. LANDGRAVE SMITH’S HOUSE, BACK RIVER, SOUTH CAROLINA Tue old Landgrave Smith Back River plantation house, built in the latter half of the seventeenth century, is another in which the struggle of Gothic and Renais- i,. mah pe a ph Cy } he on R. ia mph : a ni H b 7) ae rt LS y ee es pt] eae oj ri i r ee h. KO mba) as sance ideals produces just that strange interest which attaches to English Jacobean work. A main building with stepped gables has a projecting porch wing, flanked by the lower one-story wings that may be later additions. It is all experi- fo = - ae en = a Dele aeeatU a ee ati a el Lal te hen oak ied) chet a ck lea, ct Ae ry ty." ~—. . . - - - . ~ a att Ver OA era } 9. Bis, Date AiR ictal m «~ ith + jis payEARLY COLONIAL IN THE SOUTH 45 MALVERN HILL, VIRGINIA In Malvern Hill the development from the fine Jacobean of Bacon’s Castle (No. 74) to the pure Renaissance of later work has_pro- gressed a step further. Chimneys are large, rectangular, simple. Cornices are of the classic type. Brick work is used in a care- ful sophisticated way, with that use of pat- terns which character- ized early eighteenth- 80 Courtesy of R. A. Lancaster, Jr. century brick work in Pennsylvania and New Jersey. Yet the L plan, with porch and porch chamber above, the simple arches of the porch, without moldings, the lack of columns or pilasters anywhere, are all in the older tradition. THE MULBERRY, GOOSE CREEK, SOUTH CAROLINA In the Mulberry, Goose Creek (No. 81), the Jacobean tradition found a belated and fantastic expression. It was built about 1714. Around a house of early eighteenth-century type, with double pitched roof, classic dormers, and a porch showing dawning classic ee | influence, are grouped four square turrets whose | fantastic and broken roofs, strongly Jacobean in character, with their curves and their tall weather vanes, give the whole a unique combina- tion of monumental ef tect and pic turesqueness. a Ha SS Cua Or ih fs APAG: ree Ta ee ym PR saber 81 From a photograph, courtesy of Ulrich N. Phillips, Ann Arbor, Mich. THOROUGHGOOD HOUSE, YORKTOWN, VIRGINIA For the Adam Thoroughgood house (No. 82) in York- town, Virginia, some claim a date of 1640, a claim that seems hardly possible, even if dormers and chimney tops of this house are considered later additions. Yet the crude taperings of the great end chimneys and the very high pitched roof are typically seventeenth- century English, and the type is one that became fre- quent in smaller southern work. Here lived the owner of a “tidewater” plantation, the master of slaves. 2 Gaeta iancantonan O is i J i PI i J ‘ Ly a i 4 ts 5 ioe A a 5 A Pa fe ts e 4 4 ee aSica | iN o> — Poy = PAGEANT OF AMERICA Terese Pee ayaa o Rs ein ee Pea eth etl wi) ~ * perctett tet reatrinaitra tok te bien re ieee ee TS Le. | \yenete bes rt THE “HOUSE WITH THE CUPOLA,” EDENTON, NORTH CAROLINA Tue house built in Edenton, N.C., in 1758, by Francis Corbin, the agent of Earl Granville, the Lord Proprietor, strange monument to southern conservatism. Here, after the middle of the eighteenth century, is a fully developed Jacobean overhang, with a gable —a ““lucomb’’— in the center of the roof. It has the end chimneys usual in the South. It suggests that probably there were once in the southern colonies many such timber houses with the old English gables is a and overhangs. “ss Pree i a) a fi: i a a ie - Oh er i ta ai é f 4 f eae ty o §,* ry r: BS; si oF es sf 7 ae H 5 b = mare at Lene hehe areata Sk Pe | acre yee M4) i. -* “ » 7 « . - rr ee | *. : . “ pa gle . a vd - =. « te New Ee at -~ pa aA oy Ral Eel i hin Nh ete lar Teta dan | pee de te > cee A ie ee a etter hd Ne on tee Lar te ae ert) 5 . = « a PS So oo - ay ey oy Ky alas. : ed SF Re AS SS = ae Sie ~ 7 ~ ne ort np ag Ms e "st x aot ag wt/ NY lL (es en all, ae ne Viv, : : fa 1 ja be sie BK ee rm pl : - ~ > yt atthe a tool eat nna abba Deh ect bc Dek * ' . as he age paella ~ kaa ‘ae a » oe oss ny ) JENKINS’ HOUSE, EDISTO aR Wes ISLAND, SOUTH CAROLINA Tuer Jenkins’ house, Edisto Island, S. C., by comparison with the houses that have avs: ee aaenee | preceded, is in a new style. Despite Se Oe the early date, 1683, there are in it no signs of the Jacobean tradition, no visible elements of Gothic persistence. It is all in the newer Renaissance manner. Severely symmetrical, simply formal, v with framed arched window on the stair- landing over a central rear entrance, with ON ee talc lal eee aaa edad AT eed EE td on ee Y : Ch te hal retin ata i hr he re bedhead hel tale aE etl he ta rl P BBB Pf E Aye bit. em ot o es ay we yoy 8 ee fe gee) ete ee a Ve Fe ee, ph ee RA i Eight foie ao tae Bo toot and Petit ek a ty hy te id - a - - ad whe r stone quoins (corner stones), and with classic cornice, its design bears eloquent witness to the new formalism and classi- cism that, in America as in England, me a ag marked the transition from the seven- Peewee) = teenth to the eighteenth century. aw : f° ahd = * 5 . i ~Béed-- = _ “= 88 | ae 1902, near APERICSSE aR Building News Co. YORK HALL (NELSON HOUSE), YORKTOWN, VIRGINIA SomMEWHAT similar in simple formality is the Nelson house — the headquarters of Lord Cornwallis during in Yorktown, built in 1740. But here classicism has gone one step further; windows are seg- the siege mentally arched, with stone keystones, and a gabled roof treated like a pediment takes the place of the earlier hip or more simply molded gable. The whole has been recently restored, and now one can obtain in garden and house some idea of the original state. No longer tentative, experimental, romantic, a lonely manor preserving a precarious grandeur in a wilderness, it is a great man’s house in a well- established, civilized community. Fen ah a F Fae Be, 1. f q-0* ry F Lt D . % ¢ L£ AR ea yet oe | Loder oe eh ‘. a" ee i i ie by ve. ae 3 Ph ; ee ie i 4 hi 4 g L | ie | Pee 4 re ' be s }, 4 a i r ; 4 j iy ce f By en) i fi oh sie To a Ye ¢ \ Ny if , f so ee P te Ne ' we ; fae a bi a PRONTO, VAL Gil A Va Oe i ‘i Sa AVAL BES 8h Pale ae RUM AAS Nc a " an 89 © The Architectural Forum, Dec., 1921 a j AAD oN se en 7 } if fe M (oA i TaN ST, LUKE’S CHURCH, SMITHFIELD, 1 i, eee ih S cialis POSNER g) VIRGINIA bi) ae Ir the Jacobean tradition is easily recognizable in a iy Nii - A ete . (eee aN southern houses, an earlier Gothic tradition 1s amaz- a aa ingly illustrated in one of the Virginia churches, St. Luke’s, at Smithfield, the earliest brick church Stepped gables, Gothic = 4 now standing in America. buttresses with splayed offsets, a square entrance tower, and especially the pointed arched windows with true brick tracery, all are traditionally Gothic. Only quoins on the tower, occasional round arches, mtr - As e oo and a queer stucco pediment over the door give a re ibreas Ke ee ST ees hint of Renaissance. The whole has a strangely un- “Tk y W5y" mh Pk tS APRA sie eit FI Fo : v 90 Courtesy of R. A. Lancaster, Jr. American look. Cte hater es SS TT eee ee eee 7 ge ne ee 2h =o s.4 hes Aa at i Sy tr Sea Te a tg sar — a fe wee Sy nay a. ~~ 5 art Se oe A + eas, _ od tal we ha ahs “hPae oe ars ae « ten .EARLY COLONIAL IN THE SOUTH 49 ST. PETER’S CHURCH, NEW KENT COUNTY, VIRGINIA St. PererR’s Church was built in 1703. Classic influence is more obvious than in St. Luke’s, Smith- field. Buttresses have disappeared, round arches are more important, moldings of a semi-classic char- acter are used to crown tower and church. Yet the projecting strips at the corners of the towers are strictly Gothic in feeling, and even the crude urns that top them are really Gothic finials in idea, though SRE AES . : : . : : 91 Courtesy of R. A. Lancaster, Jr. early classic in detail. Like St. Luke’s, St. Peter’s has the character of many rural parish churches in the English countryside. ST. JAMES’ CHURCH, SANTEE, SOUTH CAROLINA Sr. JAMES’ Church at Santee, built in 1768, is entirely in the classic manner. But the Wren influence is_ totally absent, and the brick columns with their crude brick capitals give the whole a tentative transitional charm : 3 that belies the correct classicism of Mi. aie bes ion! §=cornice and pediment and round Paites TU ects pratt ok Seah Sean ce eal arched door and windows. ‘This i Vt ated 2 Courtesy of the Charleston (S. C.) Museum crudityv is however, the result not of any lingering Gothic tradition — that had passed away but of the exigencies of local materials. Future building could only be in line with pure academic eighteenth-century traditions. INTERIOR, CHRIST’S CHURCH, as LANCASTER COUNTY, 5 Sede | ve VIRGINIA Curist’s Church, Lancaster County, Virginia, built in 1732, preserves an almost unchanged interior unique in this country. Although the detail is Renaissance in character, the effect is full of Jacobean and Gothic survivals. The double arched reredos is Jacobean in character; the cross-shaped plan dl a FI with complete transepts Gothic: the placing of the pulpit in the middle of the church, across the transept from the altar, is characteristic of medieval rather than Renaissance usage. Old square pews, little transept galleries with small paneled fronts, quaint woodwork, crude plaster vault, com- bine to give that surprisingly English character so often found in the South. PP eek al ee i ee ee Peeed ba leb hinted els h ey Iett lin tt ety three 5 TERS - Pint. FE kB pi i ee os GiHivA BER WV. LATER COLONIAL IN THE NORTH he ihrer atte eee be btn Pal aes o ae . ~ i = . % aos CONOMIC life in eighteenth-century New England is marked by steady com- The peace and prosperity which followed the Treaty of CO eee ee ~ Ot pote iad a anette hk A mercial development. Utrecht, 1713, together with a growing relaxation in the execution of the Qyjela sane Navigation Laws, inspired an increase in the trade of England’s American colonies, augmenting the intercolonial commerce along the coast of America and with the West Indies. Exportation of raw products to England increased greatly; in return there was an enlarged importation of various English manufactured goods that were demanded by the growing population. This increase in trade brought about an extraordinary development in the ship-building industry in New England, and in the growth and There resulted, inevitably, from all this, Nath celeb beet lene hd poy i ea as Papo Sit hp pe A r o _ - . prosperity of the seaports and market towns. a rise in living standards and a new desire for luxury. Moreover, in 1684, the Massachu- setts charter had been annulled, and in 1686 the royal governor had arrived; the beginning of the eighteenth century saw a great increase in the number of Englishmen of wealth and education who sojourned for a time in New England for official or commercial reasons. All of this had a profound effect upon the building of the time. The royal officials wished to live in houses similar to those to which they were accustomed in England, where by this time, especially in the larger domestic work, the classic Renaissance ruled supreme. The Shirley-Eustis house in Roxbury (No. 103) shows how boldly and beautifully one of them — William Shirley, Governor, 1741-1749 and 1753-1756 — succeeded in realizing this wish, a success which wealthy citizens could not but emulate. But more weighty than an importation of a fashion by great men from overseas was the development of the busy trade with England, and the opening of many shops in all the cities and important towns, dealing in all kinds of objects manufactured abroad. There were laces and silks and housekeeping necessities and jewelry for the mistress of the house, snuff boxes and weapons and buckles and watches for the master, and for the house itself clocks and mirrors and wall hangings of paper or cloth from France and There were books, too, for the New Nat Sie aaa fan lee ed cree elt ste eden teen et TT ee) t. = ra Coins sh ae Mek was ar . o . = ~ la al el - poo hs Cr . - £ i Pate cet Nae a hak el Nate hao Deal che Tha Sgt LEt 2k. TA er ee ee a re Oe ee ~ a England, and undoubtedly some furniture as well. England public was a reading public, and among them were numbers of architectural books which furnished important models for the formation of the new architectural style, By them classicism was disseminated through the colonies, and mantels, cornices, doors, columns, and plaster ceilings were more and more patterned after the types shown in Swan’s Britesh Architect (1745), Batty Langley’s City and Country Builder's and Work- man’s Treasury of Designs (1750), Kent’s Designs of Inigo Jones (1727), Salmon’s Palladvo Londonensis (1734), James Gibbs’ Book of Architecture (1753), Campbell’s Vitruvvus Britannicus (from 1717), and Ware’s Complete Body of Architecture (1756). With such a body of English architectural literature present in the colonies soon after its English publication, it was small wonder that the classicism of the mother country spread swiltly, and found adequate expression in the colonial buildings. Moreover, by the mid-eighteenth century the earlier Puritan fanaticism had largely dO mr at Ott ted a tel = a , Lhe} hy aa = Chae od a a roaster eer hi aenire Siete Mii eth oe Den 8 “= Slee “ie ee A ry ge en “ od = rt . ee a Later Pe hy faa th tl ttt ee a SA hat ht Bd he a ede ele ler adn ten PR ig OP nr Te ee eT ye ey oe ea) sa" 0s ADS 2G Se eee Se Se I to an ee ria Sea Soa = 5 er . = s q , uo) Be . 3 . Aries as . a ~ 4 Sow = ma - . Be RS hel = - 4 = 7”LATER COLONIAL IN THE NORTH 51 burned itself out. The attempt to contain the growing and expanding life of New England within the rigid code that the early Puritan theocrats had sought to impose was proving a failure. The extreme Calvinism of the seventeenth century was getting out of adjust- ment with the needs of the eighteenth. ‘The sceptical, intellectual humanism of eighteenth- century England was too powerful and too universal a movement not to have a deep influence on the English colonies. ‘The disappearance of the most extreme forms of Puri- tanism at once opened the way for a great esthetic development, for its departure left a deep seriousness of nature, an inquiring intellectual curiosity, and a high idealism that were admirably fitted to find artistic expression in works which evidence an almost uni- versally sure, sane, and refined taste. This new era of trade and increased shipping brought much wealth to New England, and upon it was founded during the century a new aristocracy; an aristocracy of ship captain and shipowner and merchant, who were seldom vulgar or ostentatious in their new-won power and wealth, because all alike were steeped in the background of Puritan intellectualism. And it was these men who filled New England, and especially New England port towns, with lovely houses of brick and stone and wood, and who furnished the money that built new churches to replace old and worn out meetinghouses — churches as rich and lavish as the meetinghouses had been plain and crude, and in whose design memories and perhaps engravings of the London churches of Sir Christo- pher Wren and James Gibbs played an always increasing, and finally completely dominant role. Of importance in the development of New England architecture between 1725 and 1750 was a growing specialization of occupations. No longer was New England a country merely of farmers and fishermen and parsons; it had grown to be a fully developed commonwealth, with shopkeepers and innkeepers, skilled mechanics, printers, ship- builders, carpenters, masons. The builders among them were trained men in the new style — the English classicism of Wren and his followers — trained either in England before their coming to America, or trained in this country by those who were English trained, to supply the demand for work in the current fashion. They were an alert and skillful lot of men, eager to learn, using the English builders’ architectural books often and well. In the eighteenth century the names of men who were true architects begin to emerge. So the classic Renaissance forms of the eighteenth century became common in New England, governed by English fashions and English taste, euided by English books. But the building materials were not English. The English built in stone and brick — preferably in stone. The New Englanders built in wood and brick, using stone sparingly. At first they merely strove to imitate the English stone forms in wood; later, as they orew in mastery of the classic forms, they were wise enough and skillful enough to modity these forms, where necessary, so as better to fit the materials at hand, just as they modi- fied the planning of English types to fit the climate and local conditions. The result was that mixture of solid substantial construction, dignified and classic detail, big simplicity of composition outside, and in the interior, paneling and mantel- ll characterized by a quiet beauty of composition and a delicacy and appropriateness of ornament, making eighteenth-century New England colonial Renais- hich moves the emotions of many people even to-day with a strength ol piece and stairway, a sance a style w appeal difficult to overestimate.mR | oe) ' 52 THE PAGEANT OF AMERICA THE DUMMER HOUSE, BYFIELD, MASSACHUSETTS eh Tue Dummer house at Gt Byfield, near Newbury- met ‘ t g-a8 des a = em Yi »ort, shows classicism at i be eg pepe sae last dominant. Pedi- mented dormer windows, bracketed cornice, deco- rative doorway, with its cals reat ed etre tet Tole eh 2 “hie te ceed Stes Deeb hbo Lhe A | bed Wad tee eer oe babies int ret ge © —* - ‘ EE Te Pe i ir PY hae re Rea ia oe kt + — _& : = . - gh perce 8 = See é i i g , . ee ae ee |) ee ae consoles and curved pedi- aie ment, are all pure Renais- Ar innpate eat Pre sance. A new type of composition aiming at symmetrical dignity is evidenced, too, in the formal window scheme and the heavy end chim- neys. Note that the ends of the house are masonry. The house dates from aie et oe at Le en en phen eee eRe cnee ees | bout 1715. 94 aaa a photograph by the H alllday Historic Photograph Co. are a . ae p?, a) | J i} Chard i oe Bi a6 iy com La i a aps ty ae iS E Hoe | a ket Pt ie Gi vy Fs .'. | Sis 3 a fe Le ie eu THE ROYAL HOUSE, MEDFORD, MASSACHUSETTS In the Royal house (No. 95), which had reached its present form before 1737, the formality is of a slightly different type. In the white panels between the windows and the white quoins at the corners there is an attempt to imitate in wood the stone forms of the English Renaissance, the natural result of the desire to make things as much like England as possible in a country where wood was the logical Py a RS OE building material. ~ ~ ee a ae os From a photograph by the railday el Historic Photograph Co. THE WARNER HOUSE, PORTSMOUTH, NEW HAMPSHIRE In the almost palatial McPhedris Warner house (No. 96), built about 1720, classicism reaches com- plete mastery. No longer tentative, as in the Royal house, it is here dominant, understood, carefully - £7 er Hs me A expressed. The broad chimneys are treated with skill; the dormers varied with alternation of curved and pointed pediments; and the whole topped with a fine balustrade at the break in the gambrel roof. The simple cupola is found in many houses built were RCH Irom a res raph by F ee Cousins by wealthy shipowners in the seaport towns. co oO tlt os ed bt tle Re beet bert) ett Bet le tree he el i Nate le Rel edie eh deh Neate) etn Toate» Yee “oe ace on bes Te al oie ln he ie, hn tea ee ba tet hat) Ca ss ¥ > we) me See Gg | _ - . es “ . . AX e 4. <- FN “s mp ae a Pie _ ~~ = ke ke an - od - c Pea ge leg a Se et ae : re ed ee . aan x et Spe ok he 5 ein bm le famet « =i be (neni i he * ane SLATER COLONIAL IN THE NORTH 53 ee Ys Se a ‘ . i Sa ~ pag! sy Ae eg j et o¢ > Ke Armes Ary me eS Ao pte —ae Ra rn ae AN EIGHTEENTH-CENTURY DOORWAY ie Se a ECE Ba SN Tue doorway of the McPhedris Warner house, in its i Me simple dignity, its air of welcome, and the careful detail, Eig iuaypeeessurmeenn is characteristic of many eighteenth-century doorways. The breaking of the cornice over the projection of the pilasters is typical of that baroque feeling of the Christopher Wren type of English Renaissance that was the chief inspiration of American eighteenth-century design. 97 "ron a Snatooraphiby Tan Cousins A NEW ENGLAND SEAPORT MANSION, SALEM, MASSACHUSETTS Tur Cabot-Endicott-Low house (No. 98), built in 1748, shows another variation of the type of large mansion that filled the seaports of New England. It has the common gambrel roof, but the chimneys are not featured. Note the » J See = me wood quoins, as in the Royal house (No. 95), 98 From a photograph by Frank Cousins and the typical pedimented dormers, with the central one slightly emphasized. The door, though correct in outline, is a modern reconstruction. THE RICHARD DERBY HOUSE, SALEM, MASSACHUSETTS Tus house, built in the final phase of the great French and Indian War, a was a symbol of the et ee Crag seer aati growing economic and cultural life of the Eng- lish colonies. In it the ibe ee f j rl } 1. EG Ld i re af D le a pa - 5 he charm of red brick and white trim and green blinds and gray roof be- ta hf (EN, ; . / ; ; , m uv “| ) if ie) ; | a s re ag! so! comes a determining fac- ae TIT Te a 5 — B a tor in the design. In the doorway note the imita- tion of stone joints in the wood trim. ——— 99 From a photograph by Frank CousinsiD eboney teal. obo mia Ones a 54 THE PAGEANT OF AMERICA "> Sinn ed al tablet eel ira . = bait healt al lal halons Vdd ide hed Vitorsin aa aa he ete heer) vibe hal a eee : a rk es : yee Pe a aes ‘: P ee tee Belt 73 . as ex ae, p . - a ~ ty. ioe ; 7 i ,yErwe . r ; . at 5 3 I i _ enti Pay 2 Courtesy of Rev. Alfred Gooding, Portsmouth, N. H. —_ © © hein hed beet hel hh hd ape hd end ~ - i ee ae er o. as THE JACOB WENDELL HOUSE, PORTSMOUTH, NEW HAMPSHIRE Tue Jacob Wendell house (No. 100), built in 1789, shows still a different treatment, with a hipped roof. Its cornice is particularly good, and its dormers Pe iN tad be Deh ar bee cm Niet lid Ad <= . Eig nyk BES Rh Pa eS tee X unusually rich and large. Though smaller than most of the houses illustrated in this chapter, it 1s one of the richest: and the scrolled broken pedi- ments of the dormers and the broken pediment of the door with its turned urn show unusually j m TQ > . > + = a N re ae a 3 sac f tA ‘ well the strength of the snglish baroque tradition. | a The smaller house beyond is an example of a 1) 0 | eee, "SERIE DAR ME ee SEL agtree et idl . ° Sl mpler CC yntemporary ty pe. | Ei ea M;: ie i i ae « c 4 be.-3 Pe ee ki . ae Hy oe : ; ip f: H g; THE MOFFATT-YARD-LADD HOUSE. PORTSMOUTH, NEW HAMPSHIRE Tuts Portsmouth house (No. 101) is one of the 22 Tew full three-story houses of the time in New England, dating from about 1761. The curved cornices of the windows are unusual examples of the ever continuing attempt to find simple, beautiful, and sincere wooden expressions for a tradition that originated in the stone forms of the English Renaissance. The simple dignity of the whole house is obvious. Note the little office building with its separate street entrance. Seams ot Courtesy of Rev. Alfred Gooding ~ a Nn enna ba thet taal dence lente beet kk kat teat thet eT abt rt os 4 ou Ci rt ty es DHE CULTS: OR LADY PEPPERELL. HOUSE, KITTERY POINT, MAINE Tue house built after 1759 for Lady Pepperell has something of the official dignity which Sir William Pepperell so loved. In it the attempt to reproduce ‘nglish stone forms in wood has become almost a vice. Yet the dignity of the pilasters, the richness of the door, and the simplicity of roof go far to make : up for this deficiency. This house breaks away from i itty hess Ne ee CES ae ft the usual flat fronted five windowed scheme and the of Bee icanbrccerr aes ee RARER rtm tt ) LP PORE a ee Te CoRR SA ae OS Sa hee eee eae), hs road to monumental classicism. 102 From a photograph by the Halliday Historic Photograph Co. —) ye te ST RE RS TE " A be A + emphasis on a central motive is one more step on the i<— bel eee a it eam ee Lod a ek tae ht} SrA Leta hele tele bed Net) eli st ae ec Retin Mite lee Sel Bo het Nee ee it ee e le ae Oe Oe ae AX ee - A Ti ot Sh pt ah or te) pe, bi en ie ae . Sy op a Sy . co A ek ES eS - Oe) ea i ek es tt] « < ah te 5 = a Dae neay hy ale Ce a ia 7 i eae ms ay <>) binLATER COLONIAL IN THE NORTH Or Or ed THE SHIRLEY-EUSTIS HOUSE, ROXBURY, MASSACHUSETTS Tue Shirley-Eustis house, built about 1746, and later moved, carries the attempt to express Renaissance forms in wood to its logical conclusion. Its pil- asters, coupled to emphasize the end bays of the house, its delicate round headed dormers, its crowning balustrade and - - Te EF ah cupola, and the heavy rustica- " suite ny ote } ELL ian J © Thin Tit ; } f ; ; > { c 3 Tae co WE se rei Tt oor a iY — 4 z Paes. tion of the door, lend weight i Ha laenid Nie A Wii i Lvereay ave ° ° pod teed metaneepha! sas die eres a Maal) Wi RU at OX to the tradition that the building ty aha . 7 Le y reat pea tT ea ANA OURS OX el cis Sh 5° Be et a pare il Laat Rc nano mats was designed by an English | W SS 103 From a photograph by the Halliday Historic Photograph Co. rather than a colonial architect. THE VERNON HOUSE, NEWPORT, RHODE ISLAND Tue Vernon Mansion, built in 1758 at Newport, reveals at its fullest de- velopment the desire to produce in wood the effect of monumental im- pressiveness. The wood walls, instead of being built of clapboards or MITTIN ITTY itl Wh GUTTA shingles, are covered with boards cut and fitted to represent cut stone. THE LEE MANSION, MARBLEHEAD, MASSACHUSETTS Tue Jeremiah Lee house ay fe hn sa a he i P < — Oho We WN ¥ _ ° was built three years after the Stamp Act. To study such a house, reproduc- ing with beauty and a fine dignity the architec- tural taste of the mother Se PS : yrs : Sete oe Fe O Saag country, is to get a vision of the cultural ties that bound the colonies’ to SF At me) i e= tS Nh + wa ¥ England. The war which broke out in 1775 found many Americans unable to espouse the Revolu- tionary cause and whose inherited loyalty to Brit- ain remained unshaken. # - i s t rd t) > A L) 2 a? LS a 3 a a 4 nN A a ‘ » e ry ha + id + 4eed) ae Die ot hse Drona hey Pe ae at, eet ae re — ee : : Lo oy 2 — yt rate eat be rh Sie tide oe bot olanot tel tar der eth _ a er wo ts ~ -_— oat cd . a . . * - . z ‘ lett ie hie Ree ee Lhd a ae ae Mtg bm hb dn 12 —, ae ie ‘: A Le Ao £5 i’ 5 ee Uttar « } Po. a U . ee eae hes fis Fa t ae i i Ly ee art Sie ‘ ai r i v iF H a he rf i a i H a iy f: ve —o — = 2 a a . . Ear tk: be ie thle Nel lle ol hed ee ale LE a te att io! . ae 7m ge te, Nae ty Si pea . a Ste ne “ a eer Se ha a AA Arta CR ee ee ee vg ee ee ee eee te es othe ite 4 ae Set a Raced itn ha land ~ 2 a ; - SAA A AE te ae A . . = ~ Se me L . - - » oe « — | ~ . = RS ta ASPs < et em e hte ined lial al Shee ed led ee ht bel he) = - re Pye , > + ao inkeieten? . BS el EO Det bg Po ly yoo Ea agp eee ee 56 OLD SQUARE WOODEN HOUSE, JAMAICA PLAIN, MASSACHUSETTS THE love of balustrades as a crowning motif led eventually to the use of flat roofs, and the placing of the balustrade directly over the cornice. This is a type much developed in early post-Revolutionary days, and was accompanied by continually increasing refinement of detail and proportion. An early ex- ample of the quiet beauty of this type is shown by this house on the Moses Williams estate in Jamaica Plain. THE PAGEANT OF AMERICA Bm) 4 > | Oy j J ev From a photograph by Frank Cousins THE GOVERNOR HANCOCK HOUSE, BOSTON, MASSACHUSETTS UNIQUE in New England, the Hancock house (No. 107) in Boston, destroyed in 1860, was built throughout of coursed granite. Though early in date, between 1737 and 1740, it was one of the largest, most magnifi- cent and most advanced in style. But however grand, it is of the traditional five-window, gambrel roof, end chimney New England type. The decoration of the central window and its bracketed balcony convey a richness that is rare. METER Fecr ah PELE We bate hl f ’ ‘ Sy Lae ot ty ~ i 4 ase re ae ' ie oe, o Pyare ere oe a es - ns “ga i tee Pe at 107 From a photograph by the Halliday Historic Photograph Co. A | a ag a) . ‘he a oe aaa Re ee oe 4 / ~t t mt anes Vat 2 — _—— | ie = ie a ry ————S— SS, SR 6k | arise i ‘iat " Fg A, eee rs ys! p eyo ong ga a ER Ag sae ae aH pe - ieee s ; eth | em ad prs PP Le 108 From a photograph by the Halliday Historic Photograph Co, THE OLDEST HOUSE IN HADLEY, MASSACHUSETTS CHARACTERISTIC of the persistence of the early tradi- tion in the Connecticut valley is the Porter house (No. 108), at Hadley, Mass., built before 1700. Here the overhang appears both at front and gable ends, and the scrolled pedimented doorway has a multiplicity of moldings and breaks which is anything but classic in spirit. The general type is in the new fashion, but every detail executed in the spirit of Jacobean work.EARLY WALL PANELING, NEWBURYPORT, MASSACHUSETTS THIS chimney wall of a room in the Swett-Ilsey house in New- buryport, built about 1670, shows already in the late seven- teenth century the beginning of the simple paneling that later became such a characteristic of colonial interiors. ‘This panel- ing, however simple, is a tre- mendous advance on the simple planks set vertically, with mold- ings at the edges, that had been the rule before. 110 Courtesy of the Metropolitan Museum of Art, New York SEVENTEENTH-CENTURY WALL PANELING Tuts room wall, from Newington, Connecticut, shows how even in the “‘far-away”’ border rich paneling had come into use in the seventeenth century. With all the richness of china cabinet and pilasters, there 1s a quaintness and naiveté about the carving of the little flowers above the pilasters which give the whole an additional charm. PANELED ROOM, BRENTON-COE HOUSE, NEWPORT, RHODE ISLAND THE fireplace side of a Newport room shows the typical framing of the fireplace by . 7 . ACMA Ths meee a = 8 pilasters set on pedestals. The use of a § | oO 4 Saas i a =| door trim of curved moldings, like the un- ii usually rich panel molds, the rich chair 5 rail that stops short of the trim and pilasters are all characteristic of the earlier type of paneling. The whole room is unusually rich. The fireplace was probably originally without a mantel shelf. The house dates . ie 4 i Hy 5 h h ee ‘ y - . Aue Fi oo! “ ri at 4 4 . + : X i , i i H é ‘ ; ; 4 *. - ro rere A / 5 4 ty 7 ‘ , 3 | 4 bd A Pi Mo " from about 1720. 7 111 Courtesy of Louls B. McCagg, New York ie tecome . _ PALe SLY 58 THE PAGEANT OF AMERICA pt mrs STL oy - 4 ans ae Te ~ i 4 ie yee ’ » ae) i) gt ON Sales iw Bae AN EIGHTEENTH-— CENTURY PARLOR, PORTSMOUTH. NEW HAMPSHIRE THE parlor of the McPhed- ris Warner house is perfect Georgian colonial. The fireplace with its Dutch a tiles and heavy surround- er es pie tht teehee Pl ese oe ide hed Dy lal baal ee bebe Lb bbb bal Eon) LT | wahrcs iP erie te tt aT | q C vt Of bh bP fade i Bat AD ws ’ . ots Fe ry : p ms - - areas . . ce Z pe Spar re et he AP p ~ = pene i" ha “oe Ing molding, the chair rail nd pot Hi} and the unusually rich Henna a] . projecting panel moldings are true to English prece- dent. The mantel shelf and mirror are of much later date. —_ me bk NS Ig Courtesy of Rev. Alfred Gooding INTERIOR, JEREMIAH LEE MANSION, MARBLEHEAD Tuts interior from the Lee house at Marblehead, built 1768, shows a later, more refined fireplace. The added D> “Afr Mat ae oa” t ‘ ee = bared ~ i) Pentel Bee: stich eee wv S. et reese 5 ta 2, a Fats hatch See eR Ee _Aa «< ela | AS €4 sah a i Rr Nita et ae ter ek eg oer aeri ten ht irae eee! pai Pag Sa ae i ae Pinay Se ath AE * ar ne S\-= 5 Seo eee A Sie ~*e ° a A = richness of the cornice and the use of “Eat, beautifully carved Corinthian capitals show a later date. The door trims of the flatter architrave type and the a i i ‘ oa ea? i ’ | = = — Ss. 4 j SR a my - ee “ans : - —— bare ' << iE Se aa j j } j a te *, — a simple sunk panel molds are more i usual. in American work than the | ; heavier moldings of the Brenton-Coe house. Note, too, that the fireplace wall is the only one paneled for its entire height; the side walls have y PRIN wainscots only. 113 From a photograph by Frank Cousins = a ae S ae Dees ee Se Nera et bl bad a) Detleae ela oe Rd det t Pea # apres, a6 oa ty aa ee ; “ reds ey © a A 5 a 2 m Sys, amine " Lion wy od * Pee’ ny lid Se AA PD me A +s esas ~ ae a THE “MAHOGANY ROOM,” LEE MANSION, MARBLEHEAD The “mahogany room” (really a + oti” om - Pisa Ke ee tee at: b Bente 4 a FEF, = : Y Retry PON ABaR hepa ee : CE 8 AKA SRR Oa ee are ete Doped lena Spec atatan eae e ™ ; : T TESS Oe At etindeeeetameih had o} on Seas Ae ar Cay Pa or a er ee painted and grained) at the Lee mansion is the most lavish of PRATLL . whe - existing New England interiors. The unusually rich and com- plex fireplace carving shows that n es hen “on Hi Bees yr ee Sak enea oe a Pe i: Meret? tae ro yeas mixture of French rocaille (shell) and English forms which was popularized in England by Thomas Chippendale. Its design aoe Seen was taken almost line for line from Plate 51 of Swan’s British — - ee ee a ~ - — — ~ . . - ry ~ 114 From a photograph by Frank Cousins A re hitec t, | i406. ’ Se * . _ CJ 7 = ew a >] ahs eee eee ee ee Bt ba ren ree tar thy Seen Se song ga tyes Fa a in as ~ p22 Sr sgr.26 San Sa A pr pe ee parr tag S - Ve = . «=, se . Ne et teat to a Se a RE ae PAS a ee a 3 — — =LATER COLONIAL IN THE NORTH 59 INTERIOR, THE LINDENS, DANVERS, MASSACHUSETTS Tue Lindens, built in 1752, rivals the Lee house in the rich- ness and beauty of its interior. This interior, stained and waxed to show the beauty of the wood, is one of the finest, though not the most lavish, that eighteenth- century New England has left us. ‘The decorative carving of the marble fireplace facing is noticeable, as well as the corner pilasters, the carving of the moldings and the lack of mantel shelf. AN EIGHTEENTH-CENTURY STAIRWAY, PORTSMOUTH, NEW HAMPSHIRE Ir was in stairway design that the eight- eenth century produced some of its most noteworthy successes. In the Moffatt-Yard-Ladd house in Portsmouth, the hall has been developed into a real room, of which the stairs are the main feature. Like all these developed eight- eenth-century stairs, this has rich turned balusters, decorated step ends, and the soffit (the underside), where it shows, is richly paneled in plaster. ry T aad y. a oe pa sa ren) 1 OER att mel oes bea I i, ei neh ee, ie Courtesy of Rev. Alfred Gooding THE MAHOGANY STAIRWAY, LEE MANSION, MARBLEHEAD Tue Lee house stair hall is as preémi- i | LT teal bbb bl ' rt ee ee a ee cen ee nent in its way as the “mahogany room. ‘The richness of the openwork carved twisted newel, the combination of paneled step ends with carved scrolls, and the decoration of the walls above the dado with old wall paper, combine to make a whole that is remarkable for richness and dignity. A comparison of this with Nos. 43 and 44 in Chapter IIL any : eit % e e oe elie ne ‘ SO j shows the enormous advance made Se ee =e iy a in design. The eighteenth century uses —— ‘“‘open string,” with balusters down to the steps; the seventeenth century the “‘closed string,’ with the step ends hidden. 117 From a photograph by Frank Cousins eS eeeae orf THE PAGEANT OF AMERICA iba be rine Dra iret | a = KING’S_ CHAPEL, = G BOSTON Oxp King’s Chapel, 1753, even without the colon- nade, which is a later addition, had in its ma- sonry walls, its stalwart tower whose spire was never built, and its simple hipped roof, all the monu- mental dignity which its position as the first official Church of England church in Boston demanded. This chapel was designed by one of the best of the early architects, Peter Harrison, of Newport. ‘ae. re TE te eel ee a ae i 3 eben hat eatin atk hr cht bee ree etek ala) Ce bene Thal tel Ee Den Lip . Bh ioe Cea . , aie oe eu x ~rlt i - - e 2 a - : ¢4) phere ke pyar thd Clore de ee From a photograph by Frank Cousins INTERIOR, KING’S CHAPEL Tur interior of King’s Chapel has not only dignity, but also great richness in Corinthian columns, the curved ceiling, and the lovely pulpit. The design of the interior follows Wren’s London precedent more closely than does that of the exterior. Note the “Palladian” window in the chancel over the altar, and the box pews. i a 3 fi a ye u hed r: ee Fh: h Fi ei a cae ae ] A oe tie ie ; f Ven ie J te a : ieee ae ae oa! Be, es }. i ~ =< < ea a ar aa cee a ae a ‘ ee a clea eo lamepe yes ee ee “ read bi egy + 5. Hints wA rs ; hw , a it) ¥ * : / on ae eo ha ee el Peg Pe ee et . Photograph Co. 119 From a photograph by the Halliday Historic THE OLD SOUTH MEETINGHOUSE, BOSTON Tur Old South Meetinghouse, 1729, is one of the finest American churches of the eighteenth century. In it we get the beginning of the typical New England spire. This was a development of the church towers designed by Christopher Wren for London churches after the Great Fire; but in New England the tendency was towards greater simplicity, greater lightness, and greater importance for the spire proper, the topmost sloping section. Saute ns 120 From a photograph Vd hee ee oe eo te ee et] 5 1 r4 a Ba A Se Tro 1 Bed Aw ase bE - ia | art hae te Rg St gn ta hiskar blac | tehes e i aga ban entee a 4 i ar . > “ 7s Fe) . ~ _ . . oa + ~ _ i ae i, ses a ay ~ S - - . 5 il on i 5 om - Sg oy =. aon a. al i : Pee tl eel pias altre f Sat ee ee eee & oer aes ie a ) } ie i a 2 ; - een PS HIN itt ito pa <4 KROWARE & KITCHEN BURINS RES “1 tr 4 ; tp, ay 4 ' * ~ Aired ei ey te) i ak F ee a Pi: A A “h . M4 ‘a —t . mk Are ore 127 From a photograph THE OLD CITY HALL, NEWPORT, RHODE ISLAND In the City Hall at Newport, built in 1762, the ascendant classicism of the eighteenth century reaches its triumphant completion. A composition so Palladian, so obviously the result of study not only of English but of Italian Renaissance, so correct in proportion and detail, seems “bookish,” and lacks the vitality and vivid personality of earlier less intellectualized designs. It is almost more a formula than a living work of art. It was designed by Peter Harrison, also the architect of King’s Chapel in Boston. a a Ui fe ‘4 bY tf = A tJ bs ei A @ Bs 2 A Pd 4 bl D 4 Ss . & u ad 4 ~ 2 i Ps s: oY A - “4 + a a 4CO a ee ee ee er eee ee : F SPOR GEOG DOR AD HDs Bis Diet dln ett er et et bt nt be ee be lm ty | ee dn ees et a pe eee tig) hd ae Lek Ve thd . = P a ae é ee ' OH ee ne Hi | a ke S Pe ee a", , ee: a i a: a f bei rg te ie Le $i aq ad { i. a Pe ~. ee er = = a a bd S =} yo bg ei Sa ear Lede laa alt eal inate ee hel te at fe 2a eo hot ieee LD rake = Fei) 2 bid td od nat Pinter bata tt tag bath she bah erhaher he ral rt Ai Dane Pea a Wah lore Dect 2 - 2 EA Sy Oe dee COTS ioe a tin ei is tr an ' = Sine ® . = - PN ce ted es - Ped Sa = ny - as ~ GHVAC Eien Vt LATER COLONIAL IN THE CENTRAL COLONIES HE commercial development following the Peace of Utrecht which meant so much to New England, was equally marked in the provinces of New York, New Jersey, Delaware and Pennsylvania. New York had always been a trading center; the English government that had followed the Dutch, and the new prosperity ot the eighteenth century did not change that. It is, indeed, astonishing that the change from Dutch New Netherlands to English New York involved so little break in the economic and social development. The city of New York, it 1s true, changed slowly from a Dutch to an English town, but Albany and many of the Hudson River settlements remained dominantly Dutch. The English, moreover, were scrupulous in preserving the Dutch property rights and the old Dutch manorial system was soon paralleled by a new English aristocracy. The persistence of Dutch names down to the present time Is an indication of the strength of Dutch tradition. Yet the new century brought to New York as to New England and Virginia new architectural ideals and forms. It is perhaps this change to the pure classic Renaissance of the eighteenth century which masks the change from Dutch to English architectural dominance. It is certain that the new classic inspiration was from the classic of England and not the continental rococo of Holland, although Dutch influence persisted long in certain traditions of roof type and dormer, and in certain quaintnesses of interior detail. Even the Dutch manor houses are English in design, while such houses as the Apthorpe (No. 137) and the Morris (Jumel) (No. 136) houses in New York, built by English fam- ilies, are among the most classic and most monumental examples otf English Renaissance that existed in the colonies. Only in out-of-the-way villages up and down the Hudson and around the bays of Long Island, Dutch influence continued long supreme. Just as the English influence absorbed the Dutch in New York, so in New Jersey and Delaware and Pennsylvania it absorbed Swedish and German influences, or else pushed them back into the interior where large areas are still predominantly German. The saals of the German community at Ephrata in Pennsylvania show how typically Teutonic were many of the architectural forms. But along the coast and in the large cities, all was English. During the eighteenth century Philadelphia became one of the great cultural centers of the American colonies, famous for its wealth and aristocracy. To Stenton and Graeme Park succeeded Cliveden (No. 146), the Morris house (No. 144), and the Bartram house (No. 145). It was a center whose close association with England, with aristocratic and wealthy England, is shown again and again in Franklin’s Autobiography, and attested by the Tory attitude of many of its inhabitants during the Revolution. It is typical of Philadelphia that there, in 1731, Franklin and some of his friends founded a subscription library — the Library Company of Philadelphia — that was to enjoy a long and prosperous history. The large number of architectural books it possessed early in its life shows how important a place architecture held in the mind of the educated people of the time — a fact borne out by the importance ot architectural articles and 64:LATER COLONIAL IN THE CENTRAL COLONIES 65 pictures in the contemporary Columbian Magazine. In its catalogue for 1770, for instance, the Library Company lists twenty-seven books purely architectural including such diverse titles as Ware’s Palladio (1738), Halfpenny’ sU seful . {rchitecture (1752), Perspective Made Easy (1735), Ball’s Antiquities of Constantinople (1729), Inigo Jones’ Stone-Heng (1725), Montfaucon’s Antiquities of Italy translated by Henley (1725), and even Stuart and Revett’s Antiquities of Athens, Vol. I (1762). In the 1789 catalogue appears the great book of Robert and James Adam, Works in Architecture (1773); in that of 1794, Wilham and James Pain’s British Palladio (1790), and Soane’s Plans, Elevations, and Sections of Buildings (1788). It is significant of the popular interest in architecture that when, in 1798, the Library Company put some of its volumes in circulation, a large number of these architectural books were included. This naturally made a profound effect upon the architecture of the city. It gave birth to a spirit of dignified, established, European classicism strong at times to ‘he point of heaviness. There was a sense of monumental composition ieleeohere unknown; the prov incial capitol building was the largest and finest state house in the colonies. Saat public buildings in Philadelphia — C arpenter’ s Hall (No. 150), the Hospital | ‘No. 23 the Market Halls — show an architectural quality equally marked. It is Ome of Philadelphia that it not only had more paved streets than any other American city, and the earliest system of street lighting, but also a street plan carefully thought out and unparalleled in its regularity. on is the ¢ sharacteristic Philadelphia feeling for monu- mental effect which males Christ Church (No. 154) one of the finest, if not the finest, of colonial churches. Philadelphia, moreover, was never completely subject to the tradition, so universal farther north, of the oe house’? — in the Bartram house or Cliveden, for instance, there is no trace of it — and the Philadelphia houses have therefore a variety and an English solidity thé ‘ is peculiarly their own. But Pennsylvania architecture was no mere copy of English work, although dominated by English fashions. Just as local traditions of planning and the local material, wood, modified the classicism of New England, so here local tre aditions and materials produced new forms and effects. One of the most important of such local peculiarities is the use of brickwork laid.in Flemish bond. In this bond each course ce onsists of bricks so laid that their long edges and short ends alternate, and over each long brick or stretcher the course above has the short end or header. ‘This is a common bond, but in Pennsylvania work the interesting pattern to w hich it gives rise 1s emphasized by making all the headers either markec {ly lighter or markedly darker than the stretchers. The whole interesting color of such a w all is furthermore both relieved and accented by the universal use of solid white window shutters. Another local characteristic even more important is the use of a projecting hood be- tween the windows of the first and second stories to protect the lower windows and the entrance door from the weather, and furnish, as it were, a narrow porch without columns. This so-called ‘“‘Germantown hood” is found in New Jersey as w ell as in the suburbs of Philadelphia, where it is exceedingly common. But these local pec ‘uliarities, important as they are, in comparison with those of other [t is the English tradition that dominates; portions of the country seem negligible. characteristic of the colonial eighteenth-century it is English Georgian classicism that is C : architecture in those regions that were under the cultural sway of Philadelphia. i ee te FT eT Ie Tere ELE)ae pt) der dete bebo te ttn Shad 66 THE PAGEANT OF AMERICA i rer = rT ’ " = ee Oat pha meres Ed ba i heeartd n Pha ell ated tle ae beled aman Ma aye So bah Bl bed Slee ro Ae oa = aye ’ ee ee . a Ps Ps - Qriapele ad sala deed cle beet hl ae dane eet Sh Sd ot rt at Sis aK ° u bi | o ~~. pant a sy ~ a . ~~ . har ital ‘ $5 = ye A aaa SSS san M Ten, ¥ _ - - és ~+ ON ne Vr Oe ere mon | 2 = — or 1 en - ’ ~ sd pre (+ = re Ako eyes ~ ~ ‘4 at es vo " rs —s ie ~~ = Sats a . - a ~ From a photograph by John A. Wilson A HOUSE UNDER THE PALISADES, NEW JERSEY THE more primitive and simple the building, the less chance there is for the appearance of national charac- teristics. The main part of this little house under the Palisades bears a strong resemblance to some of the early houses of Massachusetts and Connecticut. But in the lower wing there is in the sweeping roof over- hanging the porch a positive sign of Dutch influence. Such as this, undoubtedly, were the majority of the houses along the Hudson well on to Revolutionary times. ie ie Eg: oe a, ee ne ie ae + Pe ("3 EVA [Le [SS Sw sae i ; p iy a ae raf ys \ LA a ’ a t Ss + \\ ) a NY / i XX TH YES x Sy eA pea) ye eg ‘ re i, 4 - i ] ‘ LV) i ? 7 \ - > - oa 4 79 - - ~~ ‘ ~~ ® j a A > - iy “4 ‘ . —, “Ty : K, z 7 SAMS > (es \ TOCA eee “p> ~\ : if, | gett = t Tt XQ Ne _— Ax > it ~ 4 JS? - : Ae 3 2 eg Pe \ ‘ % ‘ f rh ; VF - . A - - s R INx a , ‘ ; ‘ s - x > 4 . / tA f 4 1 } M { \\ 4 . . \ ot - } j i / ree a i J ee a ee . Fa ec Ci e aoe }, tte } f' FH a é ¥ > a s a _ ei - r ‘ i 4 sa Ne ct Neha eh nai otha eno hada nal a) — = . ss = ay * . ~ teen - 7; H ‘ «4 r a \ . ees ———| (a | ai j -- | 7" fe i ab he fe at | ee ie fe 1 : H . iW 7 ' [? . i, r \ } ¥ ; CJ SS I ‘ Pas i i), ” Rt \ ae L a Log UY | ey an UD r e ¥ ce . i . eee TORRE leva at acne eM meee fae as — the window arches. The 133 From a photograph by Frank Cousins - yj: Dao one : porches, obviously an addi- tion, with little artistic relation to the masonry walls, are the only elements that show Dutch influence. It was built in 1748. ~ ~ SCHUYLER MANSION, ALBANY, NEW YORK In the Schuyler house in Albany we get the final absolute dominance of the English taste. Built in 1761, it has a “Chinese Chippendale”’ balustrade over the cornice, a classical modillion cornice, and the charm of proportion of the typical New England house. But it is longer, seven windows across the front, instead of five; and in its severe simplicity — for even the polygonal porch is a later addition — it shows the persistent love of exterior quiet that 1s evidenced at Yonkers and Van Cortlandt Park. aed en! Ct aed s, 7 . c A the cei as eet sald al RealTek hes i biel eh Tor A sy ihe toh mK os a oe! te ee fe “ -- « a oars rer, a Pr ay a oie § 7 eo L seis A By | eS Lr « B ee i r ay } A ! a } ru ae sae eo ay Pan iG i 4 ' Z ne z i if a i 4 re y | i re ya t a H at oe + ae) ne . a of ee ep | F i ae Le + re ae PI Se va thee y: ee a i He MD Ue rf a an in .: r Oe iY Re ioe 4 tt" id t ra f AEM a ne re Th | NG ci Br er P r a ~ * a - FRAUNCES’ TAVERN, NEW YORK Fraunces’ Tavern shows to-day only what its brilliant restorer imagined to be its former and original state. In the main the restoration is probably accu- rate, and its appearance gives an idea otf the New York of the period, a New York of red brick and white trim, of classic doorways, with here and there little persistent echoes of Dutch tradition, as here in the type of the dormer windows. The tavern was built originally in 1719, when New York was little more than an overgrown commercial village. Pe a From a photograph by Frank Cousins ~ wo on x eae hs a L ke RFES ES Ck =LATER COLONIAL IN THE CENTRAL COLONIES 69 JUMEL MANSION, NEW YORK Tue Morris (Jumel) mansion that so proudly overlooks the Harlem River in New York is In many ways exceptional. Built in 1765, it anticipates post-Revolutionary develop- ment not only in the elaboration of its plan, but also in its full two story portico, which is the only example of such a porch that can be surely dated prior to the Revolution. The slimness of the column proportions is also ahead of the time. The doorway trim is of later date. Otherwise the front of the house is a typical five-bayed English type colonial house. This dwelling was eleven years old when Washington’s battalions aban- doned Manhattan Island to the redcoats. ae ae eee THE APTHORPE HOUSE Tue Apthorpe house (No. 137) that once stood in New York is another unusual house. Kimball calls it the ‘most architectonic of the group”; and certainly the use of pilasters and engaged columns, the subtle break- ing out of the central bay with its pediment, and the unusually monumental effect of the contrast of small square windows above, with tall slim pedimented RSS Seon a ere windows below, reveal a sophistication which is un- | usual in pre-Revolutionary work. The recessed porch | should be compared with “Hampton” (No. 176). Le a ,. S or - - rms : ee —. “9 THE OLD SUGAR HOUSE, NEW YORK New York long retained a mixture of English and Dutch characteristics. Even now an_ occasional ie > Ty ¥ ; ag gambrel remains in out-of-the-way corners. The Mice es Crs af AS Old Sugar house (No. 138), used as a prison during Bn 4 Li the Revolution, shows how much more striking these 138 From Harper's W eae ae 17, 1880 contrasts were forty years ago. The Old Sugar house has a coped gable like that of the Billop house (No. 65), and to the left is a two-storied building with pedimented dormers in the English tradition. 4 ; 2 cont ite) io te ed eenee ke bet ier bbb Line tb 70 THE PAGEANT OF AMERICA PHILADELPHIA BRICK FURTHER south, in Delaware, southern New Jersey and Pennsylvania, it is the brick tradition of Philadelphia which rules. With English, Swedes, Germans and a few Dutch, that section of the country was the earliest ““melting pot’’; yet save in sporadic examples, the dominant Eng- ee TD, Fe am ee a ey i yoo}. eee” -.: Ae a RESES fom one Ne ae os ed “Fi ee me Seles lish tradition of the metropolis, Phila- delphia, was more and more the rule. This house in Dover, Delaware, built in 1728, shows the type; variegated brick walls, laid in Flemish Bond, a classic cornice, dormers with pediments, and solid wood paneled shutters. The glazed door with the hood is modern. ee er F we re \ i tn Aa remeron ot tor Lan s hes ew iheh Theta at lado T ed Cane et oe Lethe ha! ore] 5 . a ee PF i . a ei. oe - ay a Fs ~s presale Seas am ee es ‘ + J ee Pe a <= Aine 7 - ; a vi he ih long Py oe) mh ~ gh cS ay ft te NDS ae See 5 ae en te ae ee Oo cn eae F el 139 From a photograph by Leonard Schwarz J ‘al ry Yee - te iat '% ’ OLD HOUSES, SALEM, NEW JERSEY | TuHeEsE old houses from Salem, New Jersey, show similar spirit, but stucco takes the place of brick. The long hood or pent- — house roof over the first story ¢ SRD re windows and door, forming a } Te little porch, on the house at the left, is a common feature, par- ticularly in Germantown, whence its common name “ Germantown hood.” tice te } Lf - 1 a Hi . Re ie f 4 a. i. rie) u . hee rs ao, ie ie re fee ca) bi. . ‘ee ee er Ee | oe ar « 5 = rae LB 4 a, ove ' F i / : ee ie FRAME HOUSE IN IMITA- TION OF BRICK Tue Philadelphians were early alert in matters of architecture. The Pennsylvania Magazine of 1775, for instance, reproduces from some London source an illustrated account of a new way of building frame houses so as to look like brick, by the use of a rebated tile. This manner of building is not known ever to have been used in this country; but the space devoted to it reveals a cultivated popular taste. And the five-windowed three-story house, with 140 From a photograph by Frank Cousins ~ Pa at al aed et et bee eee ee et ed Se a 2 AER, 3 gaps RPS —— eg ee mm quoined corners, 1s a type that was, with shght modi- fications, immensely popu- lar. Fittingly Philadelphia, the largest city ot the col- onies and the home of a brilliant society, was in the forefront of the movement to introduce new ideas of construction and decoration from abroad. ~ I + 141 From The Pennsylvania Magazine, 1775 ee pate aie tee da “RSA rast Soden abel Stet alas hele hate th ted Se tet at ee te ee tT] a AS = Boe, Ao Sapa ae ee ee Sr rl gti 3 es gy gn vd ~ a ee sh b * ~ . . > ig ‘ . ad - a 7 “4 ~ = as ale a aA a. eg @ r\ Pele a a Ye Fy outs? Pee ee Be ae | Tr eae tA , ’ “ i | 2 Py rel be +5 = F o o rT] . U ae | i : rt tte an be i 3 io be *. Bid fine pees ale Pe ae f ae, 7 Ae ie Stas et ee ee De eg pe By | ig wae 1 " ay ‘ F iy : he dr) J AM ' U . gy S . piel Pre . “a ee 7. a AP PL bet ie ae rn) a poor , Ca ee He 5 > LATER COLONIAL IN THE CENTRAL COLONIES 71 COMBE’S ALLEY, PHILADELPHIA PHILADELPHIA had early long rows of closely built streets, such as Combe’s Alley (No. 142). Heavy classic cornices and pointed dormers and solid shutters give at once the Philadelphia atmosphere, but what contributes more than anything else is the typical Flemish Bond brickwork, where the headers — the brick ends that are exposed — are burned with a glaze so that they count strongly. Now down at heel and in disrepair, houses like these were once the home of most of Philadelphia’s thriving population of merchants and professional men. r bet > Nath pega eis , eet) ce, Wie yes eke ope oe arb PTs oe} ws t aaa hp ips P . rs ‘ an roe Wee Wolo + tl) ee ili’ rP ig ve At > t 4 7 ary , Ly by < PS ry ele) 3 Y ft ” ] be ro ; me ee ee - aa 4 ’ n . > ‘s s \ | OYReawlt Garson ys ete = Sahl meee ; te From a photograph by Frank Cousins THE JOHNSON HOUSE, GERMANTOWN, PENNSYLVANIA Tue detail of the Johnson house doorway (1765-68) shows shutters, hood, pediment and the simplicity of the six panel door with its transom light above. The seats flanking the door add still more to the porch feeling that the pediment above indicates. Notice, too, the way the stone is laid; long narrow yey Srom'e Photograph by Eau Studios tne. squared stones but laid in unequal courses, and of unequal length. This is but one of many beautiful ways in which this stone was used. THE MORRIS HOUSE, GERMANTOWN Tuts lovely house, once Washington’s head- quarters, is a more sophisticated and highly developed example of Germantown work. The columns that flank the white paneled doorway, the carefully finished cornice, the unusually decorative dormers, with arched windows, all contribute to the classical feeling 7 ¥ 6 ‘ that distinguishes it from most of its neighbors. Its classicism is characteristic of the Phila- delphia neighborhood, but its highly developed charm seems to owe something to influence from New England. This blend of dignity and intimacy constitutes the peculiar quality * of Germantown work. - psp Loar SS # et Ran EaRO SEE re Berea tse ee 144 From a photograph by Rau Studios, Inc. 27S Cle ie ee et eee el aaie | | os ee Lo THE PAGEANT OF AMERICA THE JOHN BARTRAM HOUSE, PHILADELPHIA Or the great houses in or near Philadelphia the Bartram house 7%.| shows how even in 1731 a truly Een 1 eS , i urban magnificence was sought. a7 John Bartram is supposed to have done much of the work on it with his own hands. ‘This may account for its unusual plan and detail. He did not finish the carving till 1770. In its design there is evident a desire to reproduce as far as he was able the monumentality and the rather baroque richness of detail which characterized the English Renaissance of Wren Siete thle tacheetbends elated ot t — a Chet eater ek lot ines ek bree ied de te ele malar | el toto or Tet irk bed ok bee ett tort rt (ae a . > Pr mi aS *- 7 + ¥ ca Cen a y 2 Ste . . P ‘ SB as fo “ ak ae "y a r ae SE ay = 5 nar CY Ne mer crt OAS f emane 9 Th eee ~/ ea : a .* 5 rm Peta : ease Prue eee TL Bier) ee ] Gibbs 145 From a photograph by Frank Cousins ATi LDDS. ee \ .o” re x THE CHEW HOUSE (CLIVEDEN), GERMANTOWN CLIVEDEN in Germantown (No. 146), built in the seventeen sixties, shows a further development of the Penn- sylvania great house. In it classicism SR Ao =< eee ee Fae ie aa 1 Phe j 1 e a r Oh 2, ‘ F ‘ bee ar b fs 7 zt +! bs Pal ee ag A ; eh ~ hoe Y $ Hes rh t- is dominant, monumental effect the end sought. All of the detail is heavier than is usual further north, and the doorway is framed with a Doric order of Vitruvian correct- ness. Windows are large in scale, and capped with cut stone arches. The [RgggR Se wactepoccer——. oI RAR ore cha at ae rS. ew eta P ea a a dormers have scrolled consoles at Re vAiiRUMScso/pegeitscmen: ea ates be PSE the sides. The overheavy urns on _ [igpgeiieraneeeasgeesiatie eespemen aNbMEE abana the gables are awkward attempts to 146 From a photograph by Philip B. Wallace recreate in America an English fashion. Such a house eloquently bespeaks the stability and the culture of a people whom an uncompromising British government drove to revolution. baeet ita as Pa i lel ate al to al hr a th 20 Fae a rd x ze ay" = % oie ‘ = ~ A CLASSIC MANSION IN PHILADELPHIA Mr. Pleasant, built slightly earlier than Clive- SS OX Has. . den, and having many similarities to it, is cathe aS ia 9 = aa - tf: even more successful. The arched chimneys Oh" te and the balustraded roof are better than the Cliveden urns in giving interest to the roof, and the charming contrast of brick quoins and stucco walls and white trim as effective as the ashlar of Cliveden. The Palladian window over the entrance is used with a beautiful - 5 o a Ee hl tN at eat edith wn Poe bee tod a Lah To ee oes eth oe 2a VED a eae ea sense of proportion and fitness. The blocks in PRE rte Saal - 2 the window arch, and the heavy keystones of nen nf Sa aim ae LoL y yhivee) foe = ' : it: ptt: fiance panera Se ea Se NR eee OR the entrance door, are due to the general “ao bm st * we a Ab hae * : ay at - : r . 4 ; . . » ‘ s e . . } 3 heaviness of the contemporary British tradition. From a photograph by Philip B. Wallace — rs > jee ~] [A - tds eee a ad ta tan eit tect hae tet ae tte kt Po et et rs td 20 DE OT AP ae a Runa CDT ee te ~ recurs _ - > - ae) wa! ae = Me ag My Some ee es, s . ~ ot Ae => F 24 ia > a ed a * —s _ “ne ea dra a) ) f F a ri ee Se apr ee ee Fe a LATER COLONIAL IN THE CENTRAL COLONIES 73 THE STABLE AT | Bas WOODLANDS. PHILADELPHIA Tue strongly Renaissance classicism which marks such great houses near Phila- delphia as the Morris house, Cliveden or Mt. Pleasant, shows itself equally in their necessary service buildings. The stable of Woodlands, 1788, has a dignity of mass, a rugged strength of detail, and a bold treatment of its masonry that makes it seem almost Italian. AN EARLY GEORGIAN PENNSYLVANIA FIREPLACE THoucu the exterior of Governor Keith’s mansion, Graeme Park, is early in style, the interiors are in the style of the Georgian of the eighteenth century. The overmantel is of a highly developed type, with baroque influence showing strongly in the broken pediment. The curved frieze and the dentil course of the main cornice, which is of the double or fret type, are unusual details. The projecting “keys ” or croisettes at the corners of the overmantel and the door trim help to give this room its strongly English character. It should be compared with the Mt. Vernon room (No. 182). 149 From a photograph by Rau Studios, Inc. —— pee shy Sy a yorertn ober ayenereyereTy = ee sa ~~ ‘ - re Lat dreds aren cert , \ “? MT. PLEASANT, eis ee PHILADELPHIA, esas | nike SECOND FLOOR Ly” . | oN A Room end on the second floor of = Mt. Pleasant is as characteristic of the baroque, highly architect- ural interior of the mid-century as the interior of Graeme Park is typical of the early century. In the “‘rocaille” (shell) work at the top of the central panel, in carved consoles and broken pedi- te oe FEN eTe Ae EER UO tas Atar ke Ree e \ _»~% ’ + it a nA ‘i ) a 4 ‘ h ——— eee ee ere ee . - ee ments, this room shows strongly af the influence of such dnglish books as those of Chippendale and Batty Langley. Oe ae | 150 From a photograph by Frank Cousins i s ‘ P 0 J i EJ 3 yd r : a s uJ x a s 4 v ~ F a A : a 4 ~ = 5 « a -74. THE PAGEANT OF AMERICA DONOL RU bUDL bina Cot ered Se ee | ‘TRINITY CHURCH, NEW YORK, IN THE REVOLUTION Tuts old view of the ruins of Trinity Church in New va ran York shows the interesting fact that the church which burned during the Revolu- ena ‘a ~ et ene ee ha, re ny « a es , at a = G59 tion was not Georgian Renaissance in style, but rather the English Renais- ee et oe a " a < F , ar aot B= nat Od ole ohn Sd e dea rane an bodied i tbe deel be bee) thet beak hl Sa x pty oe = ight eS 7% COO ¥ = a ae ee sance designer’s idea of Gothic. The tower has a renpeln bl td be OT is eet dS #) AP Ee : , ' Apacs ’ a ‘ pete ps hea 3 7: r B ae oe 4 4 e 7 ; mo et Pa ont iate es. ee ae ie ete aa hn ae as slightly projecting corner 151 From the original drawing in the Emmet Collection, New York Public Library : . buttresses and pointed ERAS Ge - arches in the top stage, and the main windows, though round arched, have masonry — probably brick — mullions which divide them into pointed lights. This persistence of the Gothic idea in connection with churches all through the classic eighteenth century is a most interesting phe- nomenon. Compare St. Luke’s, Smithfield (No. 90). gh nn eee | ~ — a ot hl Ped ~~ as — ba Dir maa aan FE el ot te eed bln gS tet hed rs ee dees Yodel +- fv en ake <. Lt . hay pt Ae ane SR Ee ee ST. PAUL’S CHAPEL, NEW YORK St. Paul’s Chapel in New York shares with Christ Church, Philadelphia, the honor of being the finest example of English Renaissance church design in America. St. Paul’s, built in the seventeen sixties, is particularly famous on account of its tower and spire. The transition from square to octagonal is handled with peculiar skill by the use of the clock with the pediment over and the consoles flanking it. The decoration of the pediment end over the Broad- way portico is both quaint and beautiful. The traditions of this fine old church run back to those long war years when New York was the G. H. Q. of the British army in America. shin Yala ae nm sel etoee Sashes ei cS ay a) OD ee, eee hil i Ded he a Ah aan. Vocal Rial Fe Y Sg? pr eh paw 2 ee S | * e AF . ae é x ™ ra ee Pe een et < Sr , : . ” +. oe. ee ig < to ae Sa aaa ern Lateline tal celal Natale Neel Sek Shi! ee hn : f ST. PAUL'S CHAPEL, |W T°) Rts ee eee i | Cssgehts ind Be ks ie ae eo ae = a 5 INTERIOR a E , . eA THE interior of St. Paul’s Chapel has a completely vaulted ceiling that gives it an unusually spacious and monumental effect. The pure classic character of the detail and the large Palladian window give it a character extremely close to that of Yj > - ee oT . . mE: b (> “ee. > fi 7h ; hs Fee eed Aa eee Cn fae ceed pepscmbeny 4 such London churches as oo al By eee SiGe g ay ng ee” Aas on Cebus, Tita : : oh kus; Rpatg — tl = T. isicie a i St. Martin s-in-the-Fields. 153 From a photograph by Wurts Brothers mS ah ira ha to <=e2 bahar ie Le helen lta he bade tele ee he a ee ee a Ty x “ AQ i tf tet ae eS ary Rag iS a Stay . : a oe + 2 a a . 2 ~ ee ee =) han Shas basta Sel th ar ry — iJ rf oc = P ee “A. a” © ~ Si Rs aLATER COLONIAL IN THE CENTRAL COLONIES ~I Or PHILADELPHIA’S LARGEST COLONIAL CHURCH Curist Church in Philadelphia was, it is said, de- aa ee | signed by an amateur of learning, a Dr. Kearsley, who certainly vindicated his right to be called archi- tect. Built of the rich, colored Pennsylvania brick, it has a warmth and personal quality which St. Paul’s | may lack. The frank expression of the interior galleries by the two stories of windows and pilasters is to be noted. The whole design has close resem- blaneces to several London churches. ani. ¢ PL en: 5 7) : d . ae WY 2 es fe sr ; h * % ; rt ' _ = ay ; { 3) “ L * . ee ite a 7" > eth bie os ar Fs ee ike _ aay FORE ee ees ode eo eo ye oak WEA AES? Che oy ‘ 154 From a photograph by Rau Studios, Inc. silat CHRIST CHURCH, FRONT ELEVATION THE chancel end of Christ Church (No. 155), with the fine Palladian window, the quaint shield and portrait over the keystone, and the rich, carved panel above, is one of its greatest beauties. Niche and | window and pilaster are composed in a way that ape ES SS “ | —yreitit va << ~ a ~~ . See —_ ° . ‘ ° . sarees = oO , _ tS gives an unusually effective sense of scale and size. poset oe athe TESRESSRO SSS SS Ses 2) But even so clever a designer as Dr. Kearsley could not 155 From a photograph by Frank Cousins resist the temptation of using urns too many and too large, which detract from the dignity here as much as they do in Cliveden. ‘The church was begun in 1727, but the final comple- tion of the spire did not occur until 1754. The fine iron railing and gates date from 1795. INTERIOR, CHRIST CHURCH Tur interior of Christ Church shows the sturdy classicism of the exterior. The unusually large scale of the arches that are supported by the Doric columns gives a certain clarity and simplicity of effect that is an excellent foil to the quiet richness of the chancel wainscot and Palladian SCS RMR ——-— window over the altar. 156 From a photograph by Rau Studios, Inc. eee x 4 ri 1 io i i Fl u 4 q a x rd i eI rf i pt a " 3 - 4 Fl ‘ : r ry , a bs & s i 2 a cdae 5 RB tet ok et bet a oad it dt Lt ee ey 4 — a : Rr Ong rats it tet bred tthe oo bee eedeh eho el bol ielant tel tale ret Ee Tet) . i aN pe aim nh : a Te LC DED a bare at bel ih ilo eed een, Vinee baie dle Bh to Dor _ = Sah a ; _o* . * +e ote - o.8 ee ee ren s DY as) ted tes ah ~ i a a Set ka tN ln a em ata ca het take eal a De tele et oe a tak hintaan bea ert bt Rk i eee ne al gt pe ee tT an git PN ie A ey ae ns» ee ieee wher ie - = > ie ae -* S > oe ab ~ bind hc) . sy " Sr Ae Ss Se ~ s * S att a = eo <3 = wets ee. — hoe) hein res ee Sie tates = fe le OS Te Ae go ee °- HA km ee be a oe ar 1 Oe | a iz | ee ae Bi": ; Dia P S405 Bree: 4 an re ae he Hae Diets or Oh Aero ~ 76 THE PAGEANT OF AMERICA sr. PAUL'S CHURCH, EASTCHESTER, NEW YORK THE old church at Eastchester is the best example now standing of the eighteenth-cen- tury country par- ish church of the centralcolonies. Its unusually high simple tower, pic- turesquely crowned with a cupola, is admirably designed to fit the) quiet beauty of its sur- roundings. =) as | = | a ¢ i i ; Rae ee) n> Ee A: i rea Bee me met (os OBA cond MEN AR, tae 5 cy Fite Pr «3 fs -& ait is a“ he nt fey e a ie AHH | Mt me i = i a LESS RIT (oon, eee Mee bets sci HAA LUD by pMeRmee DS? brs 3 157 From a photograph by Wurts Brothers THE FIRST MERCHANTS’ EXCHANGE, NEW YORK THERE is little remarkable about New York public buildings prior to the Revolution. The City Hall was a simple, unassuming structure, and there was no state house worth the name. This is the first Merchants’ Exchange, erected 1752. It has the ubiquitous cupola of the northern public building, and a broad gambrel roof. This type of building with open arcades below and rooms above has an interesting genealogy that leads back through English municipal buildings to the late medieval “* Market Cross.”’ eyed LAURE EEE 159 From a photograph by Philip B. Wallace - ee $s r— = a eee 158 From W. A. Duer, Reminiscences of an Old New Yorker, 1867 CARPENTERS’ HALL, PHILADELPHIA CARPENTERS’ Hall (No. 159), built in 1772, is a much more monumental and sophisticated building. The dominant classicism of its cornice, arched windows with the balustrades below to give them added height and dignity, and the arched door and pediment all show the true Pennsylvania spirit applied to a public building. Carpenters’ Hall was used for a time for meetings of the Continental Congress. The Carpenters’ Company, who built it, was a sort of guild that not only controlled general prices, but kept the standard of work high. It early possessed a good architectural library.LATER COLONIAL IN THE CENTRAL COLONIES 17 AN OLD VIEW OF SECOND STREET, PHILADELPHIA, 1799 Brrecu’s view of Second Street Bs Ly ee TEP dente J a= - a 4s Be »i- he Cs i > north from Market, shows in the foreground a market house, with the crowd around its capa- clous archway; a large gambrel roofed building beyond with shops on its ground floor, then houses and Christ Church. The market house type, like that of the New York Merchants’ Ex- change, is unmistakably de- scended from the old English **Market Cross”. Rather open, but still close built and entirely urban, with a sense of estab- lished culture and prosperity; ’ such was Philadelphia at the 160 From William Birch, Views of Phtladelphta, 1799 time of the Revolution. THE STATE HOUSE, PHILADELPHIA, IN 1799 Brren’s view (No. 161) of the state house, Inde- pendence Hall, shows it as it stood for a long time without the upper part of the tower. The elaborate baroque clock at the gable end is interesting; it is merely a colossal variation in masonry of the usual tall a =% ep ee . A | > v clock of the period that decorated so many homes. Tee aP ia ~ he at a m . ——— "1 SS RM Aa Me TSS ae apres aes { 161 From William Birch, Views of Philadelphia, 1799 aia ; oe ‘ } mee es YT ‘ y Ts ; X/ : 7 ARN a > Pe Wen 5 INDEPENDENCE HALL, PHILADELPHIA ws “3 ; 4a ne Lal “ “i INDEPENDENCE Hall (No. 162) in its present state ay Cet a Ss m Pel HE ls Pr . is merely the completion of the entire scheme as 4 H originally projected. It was undoubtedly one of the finest of pre-Revolutionary public buildings in the Re etn IT | me ree f eae ere. eee colonies, preéminent by reason of its size and the dig- nity of its composition of main building, connecting arcades and lower wings. It is an original adaptation iva ag . iS a . ' “ a 4 ‘ aS 7 ‘4 Pate = dab oe ia tien altar SEAT eke! a ry: on " Cu oe 1s laa . = a i of - _ Si 4) ) Ot ta nn ie i ‘7 * a * o 4 a oan & F i . , fs Ls fr. ths ps ee iow Ys f > ’ eee - ve 6 if pity | OLE LS A 4 k e a of forms developed in connection with domestic and chureh work to a scheme perfectly expressive of ieee tL ee) 1 ele dd ee eS78 THE PAGEANT OF AMERICA Tee he hy ae is fie ew r : tS bet deeb) ya reba che pen wie , a ae ee eee STAIRWAY, INDEPENDENCE HALL THE interiors of Independence Hall are as fine as the exterior. In them, as no where else in the country, the full formal classic spirit of eighteenth- century English woodwork reaches its climax. Stair balusters are made heavier than in domestic work; great use is made of the full classic orders, but rich carving well applied takes away any purely impersonal coldness that the formality might } : i a peat Pepa a a4 * ie Ri as | i tt + ry pe Pare otherwise have produced. aa |) hh Oe bl a A a . : Rae lat ete Ett llen bi ee dette eel ee Peter wate “DECLARATION HALL” THE great panel or tablet over the dais, with its rich frieze carvings in the baroque styleis a sufficient center for the room, and the twin fireplaces lead the imagination back to the time when the heating for the entire great room depended upon them. Outside and inside, the perfect unity of the building is a tribute to the skill of the architect, Andrew Hamilton, who probably had the assist- ance of Dr. Kearsley. The whole formed a fitting setting for that event destined to change the future of an energetic and capable people — the signing of the Declaration of Independence. Deed * Pol oe See pa eA Err CPN NY ae iene 163 From a photograph by Frank Cousins Se WA an ee <3 “ ~ = Rr Pat TR ime ered By FADAT EAD epee = ays © Fie iP a i - he; i K: i SF a rt | { > ae te 4 u a | tile | i Ep eS | tae hone ie a Po te 4! cat 4 pe re ; 3.3. re } ‘ eu Uraae ae oe a 5. ag 4 data ahiedecieoes re ‘ eT ges rs ‘= ; aes thd, 4) Hee ine a svar vee P= o “tf f i ay Sn Sel eA E yee: Yeh eh her T,8 ss Be PT ‘ ’ ia) o ety = ? ee tits { mt | ar ee Sel ofa 7 ’ ‘ Fo a ts ® opine als ' Y ii . i 7 a+ ' 4 - j ‘ } ' 4 3 5 yey, . ‘ln i 1 Se ee Tn Sars eon 5 ~ ' Wie ene vi * ms Renee ; , re LY ert — \ — we po ; fi, ;o2) Rg a ar + +m « a ides tn ek Sind Ya Di Nactal Ieatln Tn “hoes Yah Kon en ho pete Rate ads Recah en thant tae Phe The m= Kew oe 7 =v ate ig Aaah ey ee < so ape ee 2 ak es Som - - ae i piiky iT] La 164 From a photograph by Frank Cousins i\ \ be elt le ee rt ts bh he ett ot dk ed eee J gore A, ~ Ee oes aa ws af 5 = GeeCHAPTER Vil LATER COLONIAL IN THE SOUTH HE differences between the architecture of the North and the South during the eighteenth century are chiefly in matters of conception and composition - the similarities, on the other hand, are those of detail, particularly interior detail. It is not surprising that the common sources — ‘nglish architectural books and English fashions — inspired similar details wherever their use was appropriate. Thesame paneling schemes, the same system of stair decoration, even the same molding profiles are found throughout the country; but general scheme and composition are affected by every change of climate or condition or material; and between New England and the Central Colonies and the South there were differences as vast in economic conditions and social systems as there were in climate. The deeply founded aristocratic traditions of southern plantation life were not so much affected by the development of eighteenth-century trade as was sea-going New England or mercantile New York or Philadelphia. It was a culture innately conserva- tive that was fostered in the manors along the James and the Potomac, the York and the Rappahannock. Changes came slowly. Aristocracy was so dominant, in fact, that there was continual internal friction between the planters of the coast districts and the poorer folk of the up-country; friction that even the winning of American independence could not dispel. The governing aristocracy kept always in the closest touch with English develop- ments. The proprietors of the great houses traveled frequently to England, and often their children went back to the mother country for their education More than one family of the Virginia and Maryland and Carolina plantations sent its sons to the Eng- lish public schools and universities, and its daughters to London for a season or two. These young people, thus steeped at an impressionable age in English customs, traditions, and habits of appreciation, returned to the colonies keenly desirous of importing the best of everything they had seen and experienced in England. Moreover, the great wealth of many of the manors allowed the continuous importation from England of all sorts of objects of use or luxury. A quicker reaction to the growing classicism of English architecture than in the North was thus inevitable. This early classicism frequently conflicted with the innate conservatism of the locality; together with the separateness, the distance of one house from another, which made individualism of taste more im- portant than community fashion, produced a strange condition that makes the dating ot buildings, in the absence of written records, extremely difficult. So it happens that some of the houses of marked Jacobean character, shown in the last chapter, were built years after the completion of some of those of strong classical type that are shown later in this. The eighteenth century brought to the South the real beginning of developed town living. Even the feudal conservatism of Maryland and Virginia and South Carolina could not forever withstand the economic pressure towards urban development which 79 ~ i se er i Sal F 0 a eee aa Pa i ) a eo "nee *7 ms ie) ae J os se” Cea dean Dek tial ial a es bob ete rE De iia Tet eres 5a Bie DA A PA aot got mt Me ae SP PP TT gre A st a ar ee e < a) Soe Nets Nhe a ek Reeth iil eee Nil Riel el Foe ee Vda tt be tee Dall Veta Saal Nin eed ert tet en tee ee Pd Pe ah re a > aoe - < re 7 ea oe —~ f os so Pi Ad Wa - Pte ie ee ies. Simian ay the Pl ol it eT ed Bhar adel bed aa bed etter) be hte aay ted tek Vine ect) pled ~ te ky Se Se eee Se a he - . Sa Sl ea Ls Tope oe, be (ae ee be SMe Cd . a a « ‘ es — x cay = bs Seek aa ue Be. BONE. : . . 5 ea lr DE RW Re Pe ae h (BP ingtts pote rt te eee ee a a — as, se qm ens ss we i=: VRP ATA “Ss See eee = ees weet fg to halen Taltees bake Seeded lt et het te te TE ee et A . eg bt Pa ee = ak ae eh a S % ~~ . a = ane <= ie a ny 5 - Sg k a 8 Pl St er) A Sz Ria et ets exe oh . Sa 80 THE PAGEANT OF AMERICA the inevitable commercial expansion of the time produced. Charleston, Baltimore, and Annapolis are particularly noticeable, and Charleston and Annapolis both produced local architectural types which are the direct result of climate and economic conditions. In low-lying Charleston, a house with a first floor set high was a necessity, and the warmth of the climate made a developed porch a desirable if not a necessary adjunct. In addi- tion, the congestion of the fashionable residential sites along the Battery led to smaller houses more compactly planned, and size was gained by increased height. In more rural Annapolis, on the other hand, the desire of the house builders seems to be to repro- duce the great houses of the plantations as closely as town conditions would permit. The result was a house with a large central block and low flanking wings closely related to it; a type to whose dignity and beauty many an Annapolis mansion bears witness. The development of town life gave a new impetus, also, to church design and the construction of official buildings. St. Michael’s Church, in Charleston, shows how in the cities the Wren tradition dominated eighteenth-century church building as completely in the South as in the North, just as Bruton Parish Church shows the persistence of the other more native, less formal and less urban tradition. Even the elghteenth-century public buildings in the South, with one exception, remained simple. In such a society, where government was so much a private and family matter, there was not the incentive that existed in the North for giving monumental expression to the idea of the state. Courts, however, were necessary, and Virginia is full of small colonial courthouses. whose charm is the charm of simple forms and a frank expression of the material. One of the exceptions to this universal simplicity is expressive of the popular interest in the government of Maryland. Through the vicissitudes of the proprietorship, and the some- times successful and again unsuccessful efforts of the Crown to assume control of the colony, popular interest in the machinery of government never waned, and its continuous growth during the eighteenth century is typified by the much admired capitol. This famous Maryland State House at Annapolis can lay claim, along with Independence Hall in Philadelphia and the Old State House in Boston, to the honor of being the largest, the most highly developed, and the most architecturally beautiful of all pre-Revolution- ary public buildings in the American colonies. Meanwhile, far away on the Gulf coast, New Orleans was growing as the center of a new and different culture. Founded as a French colony in 1718, it never lost its dominant French character; the long years of Spanish control from 1762 to 1802 only served to give it a culture even more deeply Latin than before; it became cosmopolitan without losing its French traits, and even its change to American sovereignty by the Louisiana purchase in 1803 did little to alter it. New Orleans architecture is, therefore, out of the direct line of descent; it seems almost a sport. Changed little by American tendencies, it affected American taste out- side of its boundaries but little; New Orleans seems to-day a foreign city. Its buildings, like its heritage, are neither all French nor all Spanish. If in one place arched windows and mansard roofs and simple classic detail recall the provincial French towns under Louis XIV, the next corner with its iron balconies and stucco walls seems almost a bit of old Spain. Yet there is a consistency of character in it all; it is all pure Latin: it is the one great center in America of a style that might almost be called Mediterranean. As such its quaintness and its beauty are all the more valuable.LATER COLONIAL IN THE SOUTH 81 THE BRICE HOUSE, ANNAPOLIS, MARYLAND Tue Brice house at Annapolis, built in 1740, reveals the end chimneys and the high roof that characterize the Se Nea eae th Ze ose mT.’ , ye t 1 Se gi great houses which were beginning to line the harbors of ! Chesapeake Bay. gs eitiaas Bi ios AR ine Se et ic cleat eat Shel ta Ye nae ae tion These are develop- ; Sha eae Spee ES BH Rete EES Aan Re ments of earlier southern tradition, but classicism 1s be- ginning to show in windows and cor- nices, and the great - ss - ae c hang —<_ = se pied : af oe out ea 3 BS % a wk oF 5 ‘ Pair | 4 AS aa size and end wings >a BRE PLL Ning Oe ace re et OR. bs eater PERE Ee: a bt ie SS | Rae a 7 Cl le , a eet are evidence of the aie ‘rom a photograpl continued progress Hrom & DROvosraDe in the eighteenth-century South towards the reproduction in America of the majesty and commanding dignity of the English manor. A GREAT ANNAPOLIS RESIDENCE Tur Paca, or Carvel house, is of similar type, and in its setting of great trees, its warm red brick walls embody a charm that does not contradict the dignity of its size and rambling plan. 2 —— —_ Pe ea 7 L Oey eee ee f an Say . Shir ft e : wi’ She EEE ee RE OY +. Navin FES Py te eae 166 © Detroit Photographic Co. i | he 2 a a 14 > ¥ 4 i 5 » F s 4 4 rl ri] "i I i 3 ri ts BY = J 7 3 7 a F Ns 3 —s 2 2 i s “ Ba te — ~ se 4= Ct ama i? r= 82 THE PAGEANT OF AMERICA ed ied Wek bet dete et tome) oye 4 THE CHASE HOUSE, ANNAPOLIS Tuis stately brick house shows that by 1771 town conditions had developed which rendered the earlier type with its spreading wings undesirable. Instead we get a fully developed, carefully composed building with a central projecting pavilion, capped by a pediment the effect of which is almost monumental. ‘The door- i Ti wav has become a dominating feature. . a an aes « — a ~_ SHIRLEY, JAMES RIVER, VIRGINIA THE great plantation houses of Virginia were even more direct attempts to recreate the atmosphere of an almost feudal English country. Everything is sub- ordinated to the great house, the “place.’’ The massive dignity of four-square Shirley (No. 168), with its hipped roof and its close ranked dormers, and its dignified lack of ornament (the porches are later additions), show how far along the road of creating a suave, aristocratic environment Vi irginians had pro- gressed even at the time of the building of Shirley, by some considered as early as 1700. Oe ee - me ns aa petal hl haa ee Slee 2 Be haa bcd Deda ies beet ot beh oleh tel Le rend Di eo EL +) Che et eh Pe Le ee ent Tee Co i hae pe tp nS eh) tg eye J 167 From a photograph Ca SYSRS oo RATT eae SRL ie 4 © AJ cee LJ eo a we as a ” © > el / — Page qe3° Bid ot a Gc Ga r J Piet ae th ae ee E t ee Pate Setelin bah aes eed bee etihdn hahe oa hed Sieh hed nent tenn Pe ‘ = 5 = A ee pee: =. . a a ‘ = a a a we “=. a Cd _ —— te Co au Oe ee Seer). -“S hs se rz 3 Uy hee > } bearer >? BERT ee et . ts ry > — Z Lid ia at Ta mA if Gi 3 4 AS ioe 9 ; att f, Sia ranted S Lneriinnes Ren oe Peter F tured servants and negro slaves served the masters 4 aun “> yn? ae : ae a iw a . i ee SPN eee pede PST es of these estates. 169 From a photograph by Frank Cousins ~ ~ % oie S eo =) ig Daehn ACh betes rt hes br poked ht Rots be ia teed Rilke ehh Needle tdi or ele hee eat et Ed ee hh Tt 7? (eee . she et) en - aA ALAA ay . ie a ey ‘ ee pectin T Syne * » 7 a - eae aioe ~ " _ a 5 * . - - - < bl 4 . . .#- a paneLATER COLONIAL IN THE SOUTH 93 ROSEWELL, VIRGINIA er : THE eighteenth century saw the flowering of the | aristocracy of Virginia. Of all the Virginia mansions | before the middle of the century, Rosewell was one of the largest, most monumental, most English. Even in the disconsolate and stark barrenness of its semi- ruin here, the stone, window-arch keystones, the stone molded chimney caps, the white carved English door, show a formal grandeur such as was seldom attempted even at a later time. Rosewell dates from 1730. Note, by comparison with the figures at the door, the great height of the windows. WESTOVER, ON JAMES RIVER, VIRGINIA As Rosewell is one of the most monumental of Virginia homes, so Westover (No. 171), also built in the seventeen thirties, is certainly the most charming. key i a) tie ae : : : ; H Bt \ aat Se el gitk i Cait Cabins In it English tradition and English detail have found [RAGESRRAIESARESeaes SSeS tsieckenaey ait eee an expression as sure as anything in England itself. *”° bce cutee rete End chimneys have become four, not two. The great hipped roof is made a striking feature of the house, and likewise the baroque doorway. Westover is the very quintessence of Virginia aristocracy, luxury, and polish, but not without a touch of austerity. : wee erry, — - $F, = —\"" 7 - z Lee Fee Ue eis NRTA ae Bit" bea We a rT t os". + : AA on ~~. eee > » ; ‘ 4 wy ‘A Pr“, Sew Le 2 , . >A , b ‘ ap oe ANH ry chs >". ; Mie} Aidt : bY, ae A ’ 7) . SOR ft we = (dy o x at @ oO Yon - 46 Ay \ Ae eR os mn ~ ~ A 27s. 171 From a photograph by H. P. Cook WESTOVER — A CLOSE FRONT VIEW THERE are several interesting details in Westover that a closer scrutiny reveals. One is the dormers, with hipped roofs to help soften them back into the main roof. Seek ain * FERRE AMS ARES Pere Another is the use of segmental topped is cer ae vi ene | | windows. The eye is caught by the white stone band course. And finally the door, with Corinthian pilasters, scrolled and broken pediment, and carved pineapple between deserves study. The whole should be compared with northern houses (such as on page 52), to show what various expres- sions one style can develop amid differing environments. f * : be A < 4 3 ‘ ry i } ri > i +) ft a 1 rd) bP wd F wm A * B J o 4 * z s ey x : F . . ye ‘ . 5 . 172 From a photograph by Irrank Cousins F ‘ rs a ~ + ae 3 4ot Ws, Pel cheer Er oA aa wera ds eget “ thoes tte Ce Si . Se he Ete Rh ll ee pe = —— vi a spr ta tat cate a td eles ieee Cee Ey ous *. 5 as « #« us F io a9 ; | a 84 THE PAGEANT OF AMERICA —————— MOUNT AIRY, VIRGINIA In Mount Airy, built in 1758, the monumental English formality reached a climax. The main building and its dependencies are arranged around afore court. The steps are flanked by carved urns. Fin ge Ee These, together with the use of cut stone ashlar Kody bt 1. for the whole construction — unique in the South for the date sure, and monumental. Even the studied lack of give an aspect entirely calculated, ornament at entrances gives to the “‘rustication’”’ of the central motive the proper feeling of rather aloof dignity. Mount Airy is the final expression Qrijete eee of southe rn aristocracy. 173 From a photograph by H. P. Cook J ath sal ee hee Lert eh ed ol hy Pg yi hag! - Sethe titer aur . A a -_ i Hy | a ao, pie ee L ¥ eee ae STs Cai ad ot wy Sa) ee ‘ , mee 2 ie adn By i] wd Bay ar a Pe - sotles a ‘ : ee ee e “ ae . are tee ret - ne 0 te, ae re AT eS. tone Part Oe . y Gad os Pah A os COPE Pia Poke orn LS OS UT eras thee PP LCA MPP ROR y SAR PME RIT Bip Pte OP rapa Ora 174 From a photograph by the United States Department of Roads MOUNT VERNON Tur most famous of Virginia mansions, Mount Vernon, reveals the elements of a southern estate in a peculi- arly full and satisfactory manner. There is the central block, made more important by its cupola; there are the flanking buildings, and a connection between of curved arcade. The large Palladian window at the end of the main house expresses the size and monumentality of the great room inside. Mount Vernon dates from various years between 1758 and 1786; the high porch is probably the last element added, in 1786, though some authorities date it eight years earlier. , 3 ; a eo ' 2. By ic : .. tae 3 oe eae q 4 q a MOUNT VERNON — SEEN FROM THE AIR AN airplane view of Mount Vernon shows that the house with its wings is only the center of a much larger whole, all care- fully planned to give the finest views. A lawn leading up to the house, flanked on one side by vegetable gardens, and on the other by hedged flower gardens, is the main element, but in the whole composition are to be found stables and ice houses and barns and slaves’ quarters. The great plantation with its varied population was a distinct social unit. The mansion house sym- bolized and perhaps furthered the planter’s supremacy. - Sa a Lai hte} " ah net a “aces 2 Os Sete Deak ae tate eel Nid De eed eel at bh hee PT Ae ee . ai yee ie a) wd a ?, PTO Fn Ps at ‘ bd . P| tn DS + oul s att Se = - aypchsearee et hal alt ete bth ht Bot te ee ie a ee ee eee * eo lag det, Cdn di a a > ie ae es =e a ee ae Na —~ ae i \ St 8 ep gah = - a a S : eng: 4 ~LATER COLONIAL IN HAMPTON, VIRGINIA THE estate called Hamp- ton, the seat of the Ridgleys, dates only from 1783, rich cupola, its carefully but it shows in its enriched dormers, the urns which crown its gables and pediments, and the large scale of all its details the culmina- tion of the influence of the English Renaissance. It is a house that is large rather than great, pol- ished rather than beauti- ful. slaughtered charm, Sophistication has and things are ripe for a new style. THE SOUTH From a photograph by H. Ey Cooke A TOWN HOUSE IN CHARLESTON, SOUTH CAROLINA Tue famous Bull-Pringle residence (No. 1 Charleston in 1765-69, shows the same ve Mes: to a town house, where land was more valuable. The unusual richness of the detail of the entabla- 178 . built in rather tures of the double portico, basec 1 on a close study of ¢nglish books, is an early example of the breaking away from strict classic: al forms that characterized the work of such men as Chippendale, and that playe d such an important part in New England work fitty years later. The house was originally owned by Miles Brewton. From a ph StOsTaDE SOUTH CAROLINA Carolina coast shows the same striving for DRAYTON HALL, THE South ¢ the recreation of English country and big-place life that is found in Virginia, and frennenteg the same In Drayton Hall on the Ashley River there is forms are used. (No. 177 the high basement, built in mid-eighteenth century, the massive monumentality and the flanking service buildings that are common further north. There is, too, a two-storied portico, like that added at Shirley, and there is the same rich variegated brickwork. 178 From a photograph by H. P. Cook ec ae oe i aay | a ft bi 5 ie 4 BS a A a 4 2 4 s 5 3 A ei] 4 F A 4 BS rd i n 4 Ley hy LS 7) s - x t) ¥ 4 a . b y % * Bt mA a -a eta eG Lyne 3 : PRR ee ph 2k Af a bie baba lalate eater ata opm oe tb ohian ies oh Peeled dh ell bli betta te] Sela tet Seren] i Ses 2 a E Pap Rae A Ed le he ea Suse “eel tome Yo fe nit wie rene Tare) ~s=e SE er eens Plat Vitra em! Pans tm ah ON es sae Aor ks Ay ao ook i Ia ah RR ee OU ee og Peat é SS Pe ol OES Pia ps % ect S > c - A a he te a Bi t | a ee hee Ff ae Yi ie ie S is i eel it he Pee ay end eet tot ent Bien Dee cs 7 ~ ~ —— ~ Sal Tea Nee it i ek ae ad Metin a ied te Pn gb aN Re aati 4 lao 4 sou = them eee! aos Smo ' a Ns ehh abet act hlahmetee rt ss bhatt barr ie Lee eas hee tener bade Te ime ane balan eta La. Wd hat shar ACR ee er lS SC Hoe ae oe Sr ar a Ga : Rk Pet Apa SE pe Soe ~ = so 4 iF a Sots)" ah Bam 86 THE PAGEANT OF AMERICA # vd oe Nd - s a 5 1 OT a rare A VIEW OF CHARLESTON, SOUTH CAROLINA Tuts old view of Charleston, from the London Maga- zine of 1762, gives something of the atmosphere of a prosperous southern seaport. The two church spires of St. Michael’s and St. Philip’s are shown at the right, and the range of closely built large houses stretching away to the left gives the whole a dis- tinctly urban appearance. Among the more typical gable and hipped roofs appear two houses with decorative gable and copings; a form whose use here is due not to Dutch influence, but to the lingering Tudor tradition. Compare the houses in Chapter IV. STAIRS AT WESTOVER, VIRGINIA zs als Rone Se teh DY, : s — ee 180 From a photograph by H. P. Cook However different in spirit the general composition of the southern houses is from those of New England, the details are frequently similar, and in interiors, where details count for more, the similarity is marked. Twisted balusters and scrolled step ends, as at Westover (No. 180), are found all over the country. Here the twisted balusters approach rope moldings in form, and the scrolls are of the a ee CWE re rs ee at so et a2 ae : i &, yee 3 eam classic type instead of having the more usual baroque broken curves and twined leaves. THE CENTRAL HALL AT MOUNT VERNON SOME of the finest southern in- teriors are to be found in Mount Vernon. The hall is peculiarly satisfactory with its pedimented doors, its simple painted panel- ing, and its wide inviting stairs. Even the simplification of the balusters of the stair rail helps the general effect of quiet and substantial beauty. 181 I'rom a photograph by Leet BrothersLATER COLONIAL IN THE SOUTH 37 THE WEST PARLOR AT MOUNT VERNON Tue West parlor at Mount Vernon shows all the qualities of the developed colonial interior — simple paneling, door trims deco- rated with pediments and pilasters and a mantel- piece of unusual richness, whose duplicate could be found again and again in England. Mantel design became almost standard- |g stiles ae ized in the eighteenth 2) century through the wide AT pL a ee a igLaveal teak. | hi ees tate eT pa | | ee (po i) Ne : 2.) | ae —< bo a4) Fi a= eB Pay f pa 3 Le Ae ees en 5 ryt] Le eee et ier ci Tah Te | rt Fy se ny at J aay . i bw TY 184 From the Gentleman’s Magazine, 1753 5 ci ry 4 1 a 1 J 4 ed | ’ 3 se i x a > 4 ¥ 4 bY a ry FS * <4 2 a =Sevan , , De nicl tall lente Sed ar Mosley ee) Shh al eel lea bs ted biel tate rel CEES IT bale) - m = 7 4 ealy a ~, - -*. . “ar Ra he ee er ae, Pia RAS Gut ata as , i = lenighans! . hhh SOA teed bin Ae Ri ee Pita! ed SES Pee hath te ke haan teed hd eet os - M aA ix é a ir se es Sats : a o- et os Ss te Py < z % te eS aah At C VIPs ie iais mi ae ~ — a) ba dit a neared eee to eat te bl tad Le oh AL ke = Ce Pn 4 r ‘ he i . ~ - eo hh hn sth ial Tele raat heen Nel a Bn gen ee et aN ah, a r = ee “ Nod - i = ~ or C +). a a= ~ ae tee a) garantie Bg Se a ee eg ee ree er eee en re Ot hee ee “ —_ Deke Chk ae ~ A ae Bare - Ss or a a a “n wie = ? SI 8 ah . 88 THE PAGEANT OF AMERICA THE NEW ST. PHILIP’S CHURCH, CHARLESTON THE old St. Philip’s was burned in 1835, but in 1836 a new church (No. 185) arose on its foundations. The lower part of the exterior was kept much the same, but tower and interior were altered. The tower, it is in- teresting to know, was designed to be as similar to that of St. Martin’s-in-the-Fields as practicable. So, although | 1835, below, it is a reproduction of the old, and above. this photograph shows work of only the period since it is carried out in a similar spirit. ~ seer ' ae . Fe fny tity | a ye > ~~ » A Bis i 4 - Pr ty ‘ TPR tae tri» i] e HANOVER COUNTY COURTHOUSE, VIRGINIA THe Hanover County Courthouse, in Virginia, shows how the love of simple masonry forms affected the ee err ~~ Pan . " EERE 9 PES NP Bele SF Sy a aT ‘am wie mcommm Canbecoe \ j nd . ee. a” ‘“ design of public buildings as well as of houses. The high hipped roof, the classic cornice, and the fine simple arches are the only embellishments of this austere building. But interest is given to the somewhat bleak design by the variegation of the Flemish bond _ brick- work, with headers of a different color from the stretchers. —$_________- ee WILLIAMSBURG COURT- ai HOUSE, VIRGINIA Tue Williamsburg Courthouse is a much more developed design. It is one of the many buildings in America whose design is_ tra- ditionally attributed — but with- out foundation and contrary to to Christopher all probability Wren. For years it stood with- out the columns that have been recently placed under the portico. In the picture the pediment looks like a huge projecting hood. This portico gives monumen- tality and a public character toa scheme otherwise almost as simple as the Hanover Courthouse. — = te 4) rare Se ea Pee pesLATER COLONIAL IN THE SOUTH 89 STATE CAPITOL, ANNAPOLIS, MARYLAND | | | THE greatest of public buildings in the South is undoubtedly the state capitol at Annapolis. It is remarkable as being one of the earliest of American official buildings in which a dome plays the dominating part. It is thus one of the most important early buildings, as helping to set the domed type which has become almost universal in state capitol buildings. The chimneys shown in the photograph at either side of the pediment are modern additions. RAGS ees Nera Pines ty STR tate ee Ske St Basti Ties e. rennin ee the Columbian Magazine, Philadelphia, 1790 ANNAPOLIS STATE HOUSE AN old print from the Columbian M agazine of Philadelphia in 1790 shows the Annapolis State House (No. 189) as it stood then with its accompanying minor buildings. The simplicity of the main rectangular building with its slightly accented central motive and its Corinthian porch is typical of eighteenth-century tradition, but the dome seems almost an afterthought; it sets awkwardly on the building below; and in its design itself seems rather the product of an inspired ship’s carpenter than a trained architect. It was only later that this complex problem was satisfactorily solved. MTL iy bh ‘ urd . a » t , Sr = > / hy tepaedenemeS (TR Oe Ml eed SE Fa Ge : ‘ Seba LT 5 , re tr oe N gat Hy rs ce ED ji et) rt ~ Cok a ee 4D pee eet rr re il ; grees . ‘i i a) - ip AERC Pts: 5 Tale Se Poh ome es Bare Tene CST tee eso, ei rece SY aS Weare 190 From a print published at New Orleans in 1803. Courtesy of the Louisiana State Museum A VIEW OF NEW ORLEANS, 1803 RouaGu frontiersmen from Kentucky or Ohio floating down the Mississippi in the early years of the nineteenth century moored their rafts and flatboats beside wharves of a strange city whose people spoke French and Spanish, and whose atmosphere was different from that of any town or city east of the Appalachians. Open-mouthed they gazed at French houses of masonry and at the great Spanish Cabildo (No 197). AN OLD FRENCH COURTYARD New Orleans atmosphere remains predominantly Latin. 191 © Detroit Photographic Co. Dates of construction mean little; for except in minor de- tails the spirit remained constant. This is an old French courtyard whose large arched casement windows and formal flower beds reveal at once the Latin origin. Only the dormer window is alien and English in feeling. r " ij 1 g I 3 - 4 y La S ey s i ¥ r — Fy > a < cd a be MA } PsSE | 90 THE PAGEANT OF AMERICA TOS ORS oii y ee ‘ a Ae ‘ale a a en | | A STREET CORNER IN , | Pee NEW ORLEANS wr j | Sania oes) HIS typical New Orleans street corner, i I on oS though every building visible is un- a — ie) f f' ; i = fel eats doubtedly of nineteenth-century date, Hi} es | MO y i ae sii] shows still in iron railing, colonnaded side- = Phy Ae walk, stucco wall and French window, a ° . y } rt 7M ie i “esr! Spirit which is as different from the a we teh ot o = a A = ; — A eeredeatmas Gated en Pah is ibe ahah toll ble abet Ded tan toler eT , - . a i Tee ~ BE de On’ ¥ _ fr f ‘i? Air tit diss rat : ; ! Lara ar} ia colonial work of the Atlantic coast as | Ais | we can be imagined —a _ spirit which is Toe ’ } 7 I : \ - ] i: ; tee Fa neither all French nor all Spanish nor ee 2 : 5 = ‘c . 39 ° ° . i | ; Bh quite ““American”’ —a spirit obviously : ee || rl gee 1) \ eae a Latin. ee le ail ey ee Re Demenenreerene oe — . te . Fe eg ee FP ‘ [~ ir pte patie ei tek Ae ct ee ee SD BAS See 192 © Detroit Publishing Co. COURTYARD WITH GALLERIES, NEW ORLEANS PREDOMINANTLY ex- a" Cs aie o ‘ a m7 a I ee i , Oto ere _ 4 “ ; nate aaa pressive of the warm ; ie f f a ie i, es he ie i oe a ; 7, i i ri Mi he | Lg Pia ie i uv: 4 i. y South are the open galleries and wide brick arches and stone pavement of thiscourtyard. Less French perhaps 1s this than Spanish, oreven Ltalian; but even so, in its mix- ture of influences typical of New Or- aa alah aro behead hd tte a aes Neate Pe ial al ate ed be a | at ee owl 32 ee Se Mk RAR ORD SE e. 5 Ce carey iC = . 5 % aa leans. ~ THE OLD ABSINTHE HOUSE, NEW ORLEANS Tuis now famous landmark is another of the charming Latin houses which is neither all French nor all Spanish, nor all Italian, but French in the large size of its French windows, Italian, perhaps, in its first story arches; and predominantly Spanish in the atmosphere of its entire composition. This atmosphere pervades the buildings of all the old city; view after view in the low- lyig streets is so similar to portions of some of the older cities in the West Indies, that the identity of the influences that formed them in their early days is obvious. ~ te Ss 5 es 5 — Sa a ~« 5 — a ~ ey = * i Pee bora. Bt lobia ef bok td Ce ii Leia ietlen taht bide Neel i het at ee ee ae oe od CS Packet Nea, Nae Soe a be Thee Datel en tel teed tee a te ee ee ‘ a the oh Od o's. Ps Syaltpaces a AT at pee sa wll ~~ ‘ <—— = a ae, st ie 4 be Pe a 4 my ~ . So {> ¢ citar Spek oe oe a a te x . i Sa ee ee x Sd eeLATER COLONIAL IN THE SOUTH - = a oe . -v Arn — . + i 4 et eS ,& ea Soh A, Soe a Ss | perry hore é ye ; ‘ en’ ae rs aru ig ta ms i Lee © Detroit Publishing Co. THE URSULINE CONVENT, NEW ORLEANS AMONG buildings large enough to merit the epithet of monumental, the Ursuline Convent takes an important place. The queer stucco decoration on the facade of the central building, with its lyre forms, is exceedingly quaint. The convent shows its true Latin origin principally in the arecaded chapel with its scrolled gable at the end. THE ARCHBISHOPRIC, NEW ORLEANS In the Archbishop’s palace, with its high hipped roofs, the areaded and rusticated porch with balustrade, the high brick wall and gate lodge and the tall windows with segmental trim, the French, the continental, character 1s most marked. The whole, almost without change, might be in some cathedral city of provincial France. | | | THE CABILDO (SUPREME COURT) NEW ORLEANS THE Cabildo, built in New Orleans in 1795, shows how untouched the architectural character of New Orleans was even at this date by’ either the Adam tendency or the Classic Revival that were beginning to assert themselves in the East. The building, despite the crude- ness of some of its detail, still remains pure Latin Renaissance in type. The ugly Mansard roof is an in- congruous addition of 1850. , A s + ei ri ri bs ei fl 2 Fi f Ls a x c 7 , J irate ee ” a P 197 © Detroit Photographic Co. 7 A : x Mi & 9Se eet ete een PO | aia ah edt) a Ded te ae Es! bod \abea d=) beset tal hie ee dette ented bol ot YI Sep Pee aN a oi al ee a leat ar eect a Lar hs ber re eet et et te A bat “ F A b : L oh E % i ae % e- 7 é hi 7 ti i. ar = " es re . vere P ey - Se a ara ee = S54 a Mo EC-; 5) J Hae ies oa a is at ge 4 rh Gu s . is * yi i ? rar a A H be ; i? R 5 i & oe He i Fis a ae Li 7 LE, Wa Lee Pra . * CJ - 7 ad ee A a aA aca a aa Sra a Co to eee nee ne Oe : A Aa ax Poe pS a ~ t-te ~, pee Se - Ns . aa tt alte ett tka baht ote ht Pd soe > oe hoes - =o Sa) =e 5 arin < Sea i eas Td | a 5 = _ i a = : a wh ein a a = A CAH A Pathe Vell ARCHITECTURE IN THE NORTH, “LATE COLONIAL” T is easy to overestimate the cultural results of the successful completion of the Revolutionary War. It must be remembered that most of the thinking Revolu- tionary leaders considered it not so much an anti-English war, as a war to support old English liberties, founded on Magna Charta, against an unjust assumption of taxing power by the British Parliament. So, now that the war was over, there was no sudden abandonment of English architectural leadership; rather, on the contrary, for a time a still closer following of English ideals. The early years of the republic saw many contrasts. Financial depression followed the inflation of the latter part of the war. The navigation system which governed com- merce within the British Empire now operated in such a way as to exclude American with other foreign vessels from desirable trading areas. American mariners were forced to search over the world for new markets. Trade with China began to flourish. Depression in the seventeen eighties was followed by better times in the seventeen nineties and the first decade of the nineteenth century brought great prosperity. The Napoleonic wars were raging in Europe. America had the most important neutral merchant marine and until 1807 neutral trade brought larger and larger profits to America. New England ships poured into Salem and Boston and Portsmouth not only wealth, but goods of all kinds from all over the world as well.. Every harbor was a port, and from the green shores of all the tidal backwaters rang the caulking hammer of busy shipyards, while the white walls of the square houses of rich sea captains rose out of clustering elms behind. These houses, that were built in such numbers between 1780 and 1820, in the main followed earlier traditions. But the growing skill of craftsmen, the srowing wealth of owners, and the growing command of natural resources made a richness and a delicacy possible that had been unknown before. Moreover, two fresh English influences were at work in all this building, both the result of the genius of one man — Robert Adam —: one towards a greater classicism, and the other towards an extreme and sometimes attenuated delicacy. The great inspiration of Robert Adam was the imperial work of ancient Rome. This Roman inspiration first appears in work strictly classical, almost archeological in its feeling, but later, as his skill developed, in a fresh note based on two of the less well known aspects of Roman art; one, the coarsened and simplified detail of the late Palace of Diocletian at Spalatro, which Adam had measured and published, the other, the exquisite and delicate richness of certain stucco reliefs that had been recently unearthed in the Baths of Titus. On this foundation, and borrowing perhaps also from the delicacy of the French work under Louis XVI, Adam developed a style that became universally popular in England. Its popularity was the doom of the earlier sturdy Georgian, and in the hands of less skillful imitators the style often degenerated into effeminacy and mere finicky prettiness. 92ARCHITECTURE IN THE NORTH, “LATE COLONIAL” 93 The Adam style influenced the art of America quickly and profoundly, and its develop- ment in England is paralleled by a similar development here. So we find in the United States, first, a growing and more correct classicism, like that of the earlier work of the Salem architect, McIntire; and later, a sudden development of a love for forms of ex- treme delicacy, like McIntire’s later porches, or the Portsmouth Athenzeum (pp. 94 and 96). ‘To make a unity of this dual tendency required all the skill of a great designer. Such designers appeared. Samuel McIntire, originally a wood carver, became, before his death, an architect widely known, whose skill transfigured Salem. Charles Bulfinch, the son of a wealthy Boston doctor, starting as an amateur, developed into a professional architect of wide practice, whose brilliance was recognized when he was called to Wash- ington to take charge of the National Capitol. In New York John McComb was pro- ducing designs and buildings that reveal a great talent. All these were working primarily on English precedent; the greatness of all lies in the brilliant manner in which they synthesized the classic tendency and the delicacy of the pseudo-Adam lightness, and in the skill with which they adjusted the forms thus developed to fit local conditions and local materials. It is this skill in modifying and adjusting that makes their work truly American; their influence and that of a host of other competent architects of the time — Alexander Parris, Peter Banner, and many others less well known — were the greatest element in the beginning of the divorce of American architecture from that of England. The progress of this movement towards a native American architecture was still further advanced by the publication in 1796 of The Country Builder’s Assistant, by Asher Ben- jamin, which shows a great deal of detail that is not strictly classical or strictly English, and which influenced much of the current building in all the villages of New England. L'wo other important influences were at work from an early period which conflicted with the underlying tendency still to base American architecture, like all American culture, on that of England. The first was the enormous popular impression which the friendship and aid of France had made upon the young country. In architecture, par- ticularly in the North, this came gradually; for direct contact with French architecture was lacking, and, moreover, the large scale and lavish detail of the typical “‘ Louis” styles were out of the question. It appears, however, in the New York City Hall (p. 106), in the design of which McComb had a French associate, Mangin, and which has a character dis- tinctly Louis XVI. It appears in all the work which Major L’Enfant produced, notably in his plan of Washington, whose scheme is based on French garden layouts, and even more in the great Philadelphia house, never finished, which he designed for Robert Morris. Later, French influence was even more marked in the design of furniture and fashions. The second influence which served to make American architecture a separate and individual style was a growing idealization of the classic world that became a sort of worship. The new republics of France and the United States both came to look back to the earlier republics of Rome and Greece for patterns and inspiration. A multitude of classic names for American towns and villages bears witness to this worship of antiq- uity, and the growing tendency to base American architectural forms on strict Roman models is just as natural a result as the carving of Washington in classic costume with a toga draped over his knees. But the story of that is centered particularly in the city of Washington and the South; classicism radiated north from there. Until the com- plete and final dominance of the classic revivals, which were nation-wide, the North, and particularly New England, remained largely true to that mixture of Adam and e colonial influences that sre so beautifully blended in the work of McIntire or Bulfinch. a 4 J 5 by 4 r ‘ I 1 J 1 rd i ) 4 kd 3 a EI a bu . - va Lj a ; a a 3 A > NA ms <4 2 ai ] ason oT ea Te a a he Dd - aos mech Ales Pott le ee aed e Peat tye ed be alee. bal total Cte tins . “= ave Teg Bg Do Pe Py i ee ‘ . P Se - | itibelh hater nce beh tet \ i ie ee ar cat adh Sheng th el ede RTE ET o a Cher: ~ ~ - a a a Py ; . tania Pcl *~ Pited el eth bit ly nie Pee 4 Pas BRT eR ie eh ao Bt cae = P as " a c a NTE aati) Set a te PE eo at ARS pha a a te eo te het bi bah ol te dal ed hes Waa) 2 SPADE Peete A ee ‘ . a Vat ph he och leat Nadel Diem Nk oe iin’ ge hee YS oe Pl siete Dalat ee Nel Nath Neath Det ee Siren ed a Poe ng tant ney > ake a ee 5s ih Sag oy mae NS ‘ ae i = Sr Ae sa AP JS Pir thaliana tet pa eet bee S sy Ade CT ‘hy er 74 BAaa4 2 a * <* cn aa Ae Pie « - a S ~ ay 94 THE PAGEANT OF AMERICA THE PIERCE-NICHOLS HOUSE, SALEM, MASSACHUSETTS Tue later years of the eighteenth century were the years when one of the great “colonial”’ architects — Samuel McIntire — was beginning to set his stamp | on Salem. In one of his earliest works, the Pierce- | Nichols house, the great corner pilasters show his wish to: be classic and monumental, but they reveal as well his ignorance at this time of how to produce his effects. The window spacing and decoration and the porch are, however, eminently quiet and right. es, 2 : ga pidlisii ¢ = os RS et Bey ani Fe aes - . a aero ‘ ‘ag 3 i ae ad ele ee” ail». r -—_ZT : 2 f m _? aT | i“ j = aed Me a Pott Ps ee Agta 7 a ae p o<€ Cite Pa a ‘ pee eee ts, oS 6 199 From a photograph by Frank Cousins THE PIERCE-NICHOLS HOUSE — REAR McIntrre’s peculiar personal touch is often a matter of felicitous detail, and in the rear court of the Pierce-Nichols house it shows to more advantage than in the front. The elliptical arches, the simplified pilaster capitals, the sure proportion and feeling of the whole, are typical of his work, and have a new kind of delicacy and individuality that is uncommon before his time. THE PORCH OF GRIMSHAWE HOUSE, SALEM In the Grimshawe house porch, now in the Essex Institute museum, the love of simplicity and delicacy has progressed another step. The proportions of the “order” — pilaster and entablature — have been altered from the usual classical ratios; the entablature is lighter, its moldings more delicate, the pilasters more slim. Wall surface is treated in the flattest, simplest manner, and the only decoration is the band of delicate dentils in the cornice, and the accenting of the pilasters that nenk the door by delicate fluting. 200 Courtesy of the Essex InstituteARCHITECTURE IN THE NORTH, “LATE COLONIAL” 95 a t me | i a x - : ——— } r Ng mh th nk Oe ES send 5 A pene nee Th) ATI Ret | aed _ BOOS A a — DO | Lerepeee } Sete eee pe A he eg ee a a | } . ~~ ~ | | iat Eee ay EY ee TY | eel | | Se | ee | | | | me Telia | | CaF =>] ary | | | i cae] Wier a | | tat seid | | fr nN ie | = = ce | |_| | ee | Ltt rh { | = a 2 . | ef a > * eae ; f Aa z ag e/a | | he * i j A La 4 | qr i } . te Ey | oe i - = Tl zi be ab fsa i ae ; es : cae i = ey P| aii Cae soe i= Ne 73 ore ese y ae Bitte | ee —— —EEE————E———————— —— = = 201 From a photograph by Frank Cousins 202 Front Elevation. From the original drawing, photographed by Frank Cousins THE DERBY-CROWNINSHIELD-ROGERS HOUSE, SALEM Or the Derby-Crowninshield-Rogers house built in Salem, in 1800, it is fortunately possible to show not only ia an old photograph — for the house no longer exists — but also the architect’s original working drawing (No. 202). Cousins and other authorities say the architect was McIntire; Fiske Kimball says the writing on the drawing is that of Bulfinch. Whichever it was, the drawing, though its indication of ornament seems amateurish, is accurate and sure in matters of proportion, and reveals careful study. Moreover, the executed building is so absolutely identical with the drawing that there can be no doubt that in this case at least — and probably in most houses built at the time — beauty and grace are not the result of chance, or rule-of- thumb methods of building, or of age, but of careful creative thought embodied in carefully prepared drawings. The house itself shows more of the influence of the English Adam brothers than is usual with McIntire. Its order, and the arch treatment below, are both in the Adam manner. THE GARDNER-WHITE- PINGREE HOUSE, SALEM Tuts house, built in 1805, shows the mastery McIntire had by that time achieved. Every superflu- ous ornament is omitted. Re- straint, refinement and delicacy are the ideals that have taken the place of the earlier classicism and monumentality. A few windows, beautifully proportioned, with flat white arches over them, a delicate balustrade, a_ graceful cornice, and an exquisite semi- circular porch make the house what it is. Salem waxed pros- perous from the sea trade in the opening years of the nineteenth century. Merchantswhose profits § Rt pg ih) RE ER seca eR) on 2] were mounting symbolized their | a eeeast OFT RRM nee RIS success In stately MansloDs. 203 Courtesy of the Essex Institute i 4 i i] 4 i tS P| 4 4 b3 s i Pd 4 4 ge SS u “4 7 x i Le s 2 ot fe ¥ M4 “A nA * aa 4THE PAGEANT OF AMERICA ied ok berberine Leb aati be eh ; PRK PERCE ERR 27 prt de ty ar ” % | THE LARKIN-RICHTER HOUSE, ¥ PORTSMOUTH, NEW HAMPSHIRE A Away from MclIntire’s influence simplicity a ae and restraint developed more markedly than in Salem. A type common to New England during the first two decades of the nineteenth century subordinated everything to propor- tion, often disdained ornament, usually achieved dignity and grace, but sometimes became too stiff, rigid, unbending, and fre- quently lacked human atmosphere. Many such houses suggested a Puritanism austere and still imposing, but whose fires burned low. 7 7 = eT A ¥ y 4 Ll * ‘ a Ss : i] L Zc Fi & WE ety ks rae s ; a 4 ;, . Back apis Oe ee ee eee ot y ir Cha rer simatha is. fhe ta eet dth evil bel inalatet Det telat Sa i. be Sooty ey we Fi os eer be ahi th [an aoa y— = i A u 7 te oN 1 bt pee 7h ak ed ’ he ‘ d t AS. ares ) ~ a a lao ee a I ey tall Ti ee eee o a —- — ee ed el 3 . ‘ peeking ee ee ee ee ee Co ae tie mae tg ar ar hp dn a Pcie . ¥ m iS | i na ote rhe o a La . LN 47) pene Pomc COG ® ote Y Pha ten hb fone beipa OMRO Leo wae hid HL i De te WR Rte m4 i J 204 From a photograph by Frank Cousins meat eee yest THE ATHENAUM OF PORTSMOUTH, NEW HAMPSHIRE PorRTSMOUTH, in its old Athenzeum, can boast of one of the most perfect American interpretations of the Adam style that the early nineteenth century has left to us. The treat- ment of the arched door, the elliptical marble pater, the rt) a = 5 ; von a ee ba tera em ied ed ole Tr ra) mate Sale boat inn bead hh OCG poche tet pi, be | ag ai 3 we a nARCHITECTURE IN THE NORTH, “LATE COLONIAL” 97 THE WEST PARLOR, PIERCE-NICHOLS HOUSE, SALEM THE west parlor of the Pierce-Nichols house in Salem shows MclIntire’s transitional style in in- terior work. ‘The panel- ing, fireplace, and door finish might almost date from thirty years before; and certain portions, such as the breaking of the cornice over the door at the right, show the same awkwardness that ap- pears on the exterior. SS = A ey uu uw o mane coon! Sy ' ; ¥," ‘ | 208 From a photograph by Frank Cousins DOORWAY FROM THE COOK-OLIVER HOUSE A poorway from the Cook-Oliver house in Salem shows an even more distinctive treatment. ‘The broken flutes of the pilasters, the reeding of the door trim, the playful and original dentil course, all show at its highest McIntire’s talent for re-vitalizing and liberating a tradition essentially classic. ‘The mantel beyond and the wall treatment with its fine land- scape paper are both also characteristic of the period. From a photograph by Frank Cousins THE EAST CHAMBER OF PIERCE-NICHOLS HOUSE Tue mantel, overmantel and cornice from the east chamber (No. 208), eighteen years later, show a dif- ferent McIntire, who has mastered the Adam forms, and in addition certain features of unique decorative detail in wood that serve to distinguish much Ameri- can work. The double or fret dentil in both cornices, the reeding of one molding in the room cornice, and the fluting of the central panel of the mantel are examples. More typically Adam is the use of papier maché wreaths and foliage on the fir eplace frieze. 1 ae \ =| eS ce a) 5 per i aly, ; ‘ SE es 209 From a photograph by Frank Cousins el H 4 iy r 7 q 7] if | A J z 7] ‘| 1 4 Bo 3 a a x a a cy J Ps » 3 P| S ¥ i. “4 nA a pee98 THE PAGEANT OF AMERICA P1908 eT vely e ee hi CHESTNUT STREET, SALEM, MASSACHUSETTS THE old towns of the first quarter of the nineteenth century had certain qualities that have fled forever. Established, without crowding; cultured, yet without snobbery; their architecture gave an expression, restful and charming, to the underlying unity that was their foundation. me sentence rire enter wall a hig eat ate A) © Peter i ed Sel ible oh bel ceehe tal ELL LEE ba! be Vibra b>) ry * . - ms -— _ - _ - - “a *. . ‘ i _ e r - It is buildings as well as trees that give harmony and beauty to Chestnut Street in Salem: and behind that harmony of a bien hee sma ry bs building was for a time at least Sh bad tee petra tee) | Shy ari ir Sah a harmony of life. 210 From a photograph by Frank Cousins INTERIOR DECORATIONS ie ; Y uo FOR ELIAS HASKET ie =) fe DERBY’S HOUSE cde be — 5 "hes "} t WE are fortunate in possessing a ® 5 1 a number of McIntire’s drawings. MY [ears | i This detail sheet for the famous a * ~ : i j a Elias Hasket Derby house, Salem, tH YAN ie ; . : . zs : NY ee ae a i with its studies for cornices, panels, Tey WON 3 cs CBR DY moldings, and a plaster ceiling, —= shows that he gave quite as much tyyy study to interior details as he did 4 = to general design. But to him, as to all true architects, the drawing rine a 4 A fs aves ie ; é oe bij z t{ en Le m7 "¢ FE ry i i was but a means to an end: and aa Sy Ce the hard quality of the drawing was metamorphosed through — t craftsman’s skill into modeled 7 beauty. 211 tse. A i ee see te REAVER NORTHAMPTON, MASSACHUSETTS A view of Northampton, Mass., published in London in 1839, a et it ee ttn det lites Nadella tee hie eel Cie he LT La A ie eet Thee Beat mg a 1 aor Pa ‘i an Ty ; Oy ar es) ah amar By PF ncaa — Se = shows the quiet breadth and harmonious beauty of this old Connecticut River town. Slim church tower and courthouse ~ and embowering trees and wide openness are characteristic; even = ee isa , the bowed shop windows in the am. , <3 Oia Me “ | o) Sa f ", . ae OST, , ea ia, bal rn Shak me . reir ext OP A OP Pog hee i ETAL sete! §$OCambrel-roofed house across the eee pet ys . a " Lye 5 street and the little columned ay 1A Stel fh RD Wee thee Ae an ae if Ba: sere! epee: Peart | 3 SA SESS ESS Ed aia SS A) Pee eee! «taken add their own note of 21: ngr f er drawing shed : > 12 From engraving by Sands I W. H. Bartlett, published at refined restraint. porch from which the view is 7 fsa ie Lae ate bet oa b Cle St be) pete rt Bs bar te} Stee ie fee te i adele teh Net) trance ats tec Wht a oe dt 1 a eg) oe Sidi - s Se es ir) a ee Tsk LAR Tae > PT her fe: s 294 = = FP I Pe some = ol ete ~s a Bo. ees 217 Courtesy of Rev. Charles A. Place INTERIOR, FIRST CHURCH OF CHRIST, LANCASTER, MASSACHUSETTS Inspr, the church is of great simplicity; delicately molded wall panels and exquisite pulpit are its chief features. It is interesting to note in works like those of Bulfinch, how the development of the individual professional architect, with the consequent oppor- tunity for a personal expression, rather than com- munal expression, led to a new search for originality of form, a new fluidity of creative design.ARCHITECTURE IN THE NORTH, “LATE COLONIAL” 101 a THE BOSTON STATE HOUSE ; Tue Boston State House (No. 219) is one of Bul- | : pti finch’s masterpieces. Built in 1798, it shows the | an result of his European study in its complete mastery seas | of monumental scale, and the way in which the dome __ | agi in| is made the dominating feature of the whole. The | as 5 arcaded porch, the colonnade above with its brilliant emphasis of the end pavilions by the coupled columns, GTO the dignified simplicity of the arched windows, and f eet f the full simple sweep of the dome are all new notes ene: in American architecture. | y J h 219 © Detroit Photographic Co. THE OLD STATE HOUSE, HARTFORD, CONNECTICUT Ture State House at Hartford (No. 220) is also attributed to Bulfinch. It was completed in 1796. It reveals a quieter, more restrained side of his taste, more definitely affected by the typical colonial tradi- tion than the Boston State House; but the arcaded a ap ; Serr Crary ry ite sn 6arehec IO}s e busi innit tt a fa} lower story with its open arched loggia, and the Fe. a a SE TO Nan NP obit obit 4 cupola, which combines a sense of monumental sim- plicity and restraint with the delicacy of detail he loved, are in the true Bulfinch manner. 220 From a photograph COUNCIL CHAMBER OF Reena isi fia) ‘si ee OLD STATE Air aa po Uy eer a oe A COMPARISON of the ae, ate ee = Council Chamber with pee ite CAs a the “Declaration Hall”’ a tl tee re of Independence Hall, mh i ‘eae oe i Philadelphia (No. 164), ‘ pei fe ; shows the enormous dif- a: a ; Garhi YY sf ference between similar | ss fd b a | * rooms, one treated in the | as i fs Hike | { R i "4 typical formal English ie a a 4 F es a | colonial style and the » e H e 1 aa i} bh other expressive of the oe an Bee new ideals of lightness, baa bigs Poe Nia er Pei er NW eg HF ie Ok Bee h delicacy and restraint of — |gex) Aaaey Miaieesgitentt. Ih Wbircr, tca ro ae A011) NY AnD bee ee RE Ae ND on detail which under Bul- y, PF hseg finch’s influence charac- narsKt Dent AT) eed eM IM terized work of the North Teer a Adee oe STN chun UMN aU tay ' leer lS oe i Praia Cf geil nT te Maine in the early years of the 9 : Ce Republic. 221 From a photograph 3 f p 7 2 ; Pp) ¥ r i s 3 4 f 4 I f ir 1 J 3 td 4 t A J o = a - a = 5 a a ‘a 2 a aed a es 4102 THE PAGEANT OF AMERICA He at ieim bhai ig tt 7 ; . Rie ek hs os 2 “iy Dak ete te ad tl Sheet pA. * ‘ 5 , r 2 ’ 4 . , ad yt . 4 se , “ - , . .— vial rs . 7 - a Ms 4 4 ;. eT es “0% 5 ieee {*- wie i A aca teste Sheet ony Tr a ate . wT c Da) od t J ote) vrd : Sie elie adel tk ne Niele tT el married Sen koh MAN IL SND eee if ere bec: mY) Naa eden nd ey . ere ee » ee rasa in da WA XS “VE WANG * 22 From J. Milbert, Jtinéraire piltoresque du fleuve Hudson, etc. Paris, 1826 VIEW OF BOSTON FROM THE SOUTH BOSTON BRIDGE THe Milbert view of Boston from the South Bridge shows how the State House, enthroned on Beacon Hill, dominated the city, no longer a colonial town, but already a city in its own right; a city of quality and per- Aa ae a ah a a tat ea erat eT er tee ee ret eet ey Oe sonality, with soaring church spires pricking its sky line; a city that vastly impressed Milbert as one that “‘recalled to him more than once one of our cities of Europe.” Milbert found Boston a center of fashion as well as of culture. He commented on the eager- ness with which its feminine population awaited SLR A sre re ee Le ei na CS Nea ahi ee he 28 Sh Rat: ee P lage 2 the arrival of each ship bringing goods from Europe. peer rs PY en ee iF mT ~~ sd ay pit wt > ; + *. s ha . ad” F “ : = Fenn » i ams Mh f - . / : ie “ a9, Rear ee Gs bel wis sh Fr bd , ; v. r a> A a aes ee Pl . ‘ aes on x { i al 7] Re ag 5 ‘ ies “Ae 7 Pal ta P 5 an " 5 ; 7 I a’ G a iy) | é 4 aa DYCKMAN HOUSE, NEW YORK New York in those early days of the nation still | ae Iho _ i) a ~ %, preserved evidence of the duality of its origin. ee Dutch and English influence were at work side ; by side in the city and its environs. The Dyck. [eae-- omc wap house, built in 1798, shows Dutch influ ee ee man house, built in 1798, shows Dutch influence 3). SAR eee fully developed; the broad sweep of the gently sloped gambrel is carried still further down to form a broad porch. Once far from the city, in the center of broad acres: now the city is enclosing it, and it has only been saved by becoming a museum. bi iy he : : i 4 5 = ep ee ree Ki rae i, q ie na at ot es - eee TONTINE COFFEE HOUSE, NEW YORK A viEw of the ‘“‘Tontine Coffee House,” painted in 1797, shows New York at the time. In the Coffee House itself, at the left, there appears the same type of composition as in the Hartford State House, and Adam influence shows in the stone tablets between second and third floor windows. Down the street are a group of typical brick houses with white pedimented doorways. Dutch influence shows only in the gambrel roof of the old wooden building on the street corner. A - J . . ne ee ey a ce 224 From the painting b Francis Guy, 1797, in the New York Historical Society A ht bee bead ok et ke ee a eet eet er etek hath hed ee Nee Mee oe ad Boe | aa i aa ea he No Laon th ond eS eh. = Nn} - nt Ne bodes, gil = art — ae xe < a aot Sa ag ahts ‘ A oe Pe a aaa re at SA ight ; Ss <2 ~ PS, OS ee at nto — “a = * Ar Seer a eS . < - ‘ +. m 5 ate 5ARCHITECTURE IN THE NORTH, “LATE COLONIAL” 103 = ——— GOVERNMENT | HOUSE, NEW YORK | Tue Government House in New York was prima- rily an official residence. Designed by John Mc- Comb, it shows in colon- | nade and pilasters, and bromaaltoeesl tT eid | Fes) pediment topped win- ie eh i | | kel ik ; [ dows, the love of monu- mental effect which for so long dominated much architecture of the central states. But the ugly R St ee ee 2 PENS ie Wael 225 From the painting by G. Milbourne, 1797, in the New York Historical Society breaking out of the en- tablature over the columns and puasters shows that at this time the restlessness of the English baroque still —_— : had its effect on American design. | TRINITY CHURCH FROM WALL STREET THE view up Wall Street has for two hundred years and more had at its end the tower of Trinity Church; and for all these years that church tower has been Gothic — or the contemporary idea of Gothic in type. Even the structure built after the Revolu- tion followed the earlier building in style. Contrast the pseudo-Gothic of its angular windows and pin- nacles with the Renaissance richness and grace of the First Presbyterian Meetinghouse to the right. The houses are of the restrained simplicity that was well nigh universal in the period. n 7 ; wo St p PS Q ral bP J fs . ' i" it Ps - 1 a ¢ 4 L i y 3 pemern . h 2 POV ret | ts J oh, Rt a oI bri ams by 3 es ie eee Pee ~ ede tend ee Peers ee ee lt = Psat ny Ao 5 Sta oes 4 * ad eer VE TER 226 From a print in the New York Historical Society, after original by Burton, published 1831- 32 THE MORRIS HOUSE, PHILADELPHIA Tue Morris house shows how closely early Republican work in Philadelphia followed the already powerful colonial tradition. Rich brickwork in Flemish bond, simple classic cornice, white shutters, a simply deco- rated doorway: all these are equally characteristic of work much earlier. Only the additional size of the windows and the marked slimness of the door and the delicate scale of its detail reveal the touch of post- ¢ i 4 1 4 is ba i) ry u bl Ly iJ af a ’ ta 4 Revolutionary influences. 227 © Rau Studios, Inc. ay) he ee a socee Lite esc 104 THE PAGEANT OF AMERICA LATE COLONIAL DOOR, PHILADELPHIA THE detail of the period in Philadelphia and its neighbor- hood reveals a mixture of the delicate freedom that McIntire and Bulfinch both loved with the stricter formality and classicism popular in Philadelphia. This door has the slim proportions, the rich dentil band, the composition orna- ments and reeding at the corner of the arch and trim that characterize the former trend, but also a certain straight- forward simplicity — almost austerity — that is character- istic of the latter. ~ atte pel ard te Pita de il deel Lief Dold | bed Uo Biel eed bode hY) | wala a SP ited ha) ire bea aac be os Mle te Me kee en ot Mg ar) ee tt opie Ne PD me Dy Er OS I Re sr 228 © Rau Studios, Lne. LOUDEN, WAYNE JUNCTION, ‘ ? ii. = rae nt ry mld ESOS = FAS) D ie Bi; t L£ oe I t! @ be i Po Phe eh re ie ae a ae ip per PHILADELPHIA ae Morr typical of Philadelphia is Louden, Wayne = Junction, with stucco walls and slim door; and ¥ in addition the dignity of a colonnaded porch i RE ASN eC eve 229 © Rau Studios, Inc. with columns full two stories high. In these column capitals we find an early instance of the use of detail more Greek than Roman — a use which shows even that in 1801 American designers were feeling away from the close bonds of their tradition back to earlier ® styles for their inspiration. hat te Natl De he bak Lal ete echt hs F + =i SOX Pe Ags tA \ THE ALBANY io SEAN kate. £ ACADEMY fe ee SS . -} By contrast, the Albany i M ey : xt 441 Academy, designed by a iF —e NERA EN y | 3 Saree : 5 te Bf To INE NS SARA SNSETS Voie A oo | Ttamous Albany architect, br Pele, Sab Ky ik “) Soabe Philip Hooker, about ie Se ee MISA WS lee, 1812, preserves intact all 5 a ) > i. XS . Wa the quality of the pure i ee ) : mat — : it pak ie colonial tradition, both in iz Be As 7 eZ 5 15a NIST mass and detail; and only as ae | = fl Pe i 3 : sy inthe greater development és ne 3 bi hh of its classic decoration, bi! {h, } ay : (Mf and the greater slimness a Me ; A SH and delicacy of its orna- 4 et ¥ rel oy ment does it show the if cdo i li gt BR aly ie ; eee \ J freedom of the new day. i ot it ; ae oon he ss) = * = Laie The Academy demon- i woes = oa a" > aii , As * Ea . strates the absence of a Y —— Fa Meena b en ce SS ae break in culture following ie cet Le= fsa iieneg ; 3 ties the Revolution. i 230 From a photograph by J. A. Glenn i" 4 lS d Meee eee ee td a ees : bd - =ARCHITECTURE IN THE NORTH, “LATE COLONIAL” 105 * reat e: arr % Barer Lh a 5 Leer - jaz * As, ee 2s ome at a 231 From a photograph by Frank Cousins PENNSYLVANIA HOSPITAL, PHILADELPHIA THE central pavilion of the Pennsylvania Hospital, built in the closing years of the eighteenth century, is full of the refined delicacy characteristic of Bulfinch. In it the slim monumental pilasters, the double-arched windows below, and the rotunda above, combine to form a whole that is perhaps the most perfect example remaining of the last and final flowering of “colonial” tradition, expertly molded to his will by a skillful oe niaecenre designer. It is used to give just that balance of the official and the domestic that a hospital should have. Es Pay Pi he k u " D J ge a th ara fe - Grote 232 From a photograph by Wurts Brothers ST. JOHN’S CHURCH, VARICK STREET, NEW YORK Sr. Joun’s Church, once on Varick Street, built by John McComb, the architect of City Hall, and destroyed a few years ago to make way for the “Seventh Avenue Extension,” shows how close to the pre-Revolutionary tradition early nineteenth-century work frequently was. It is almost a copy of St. Paul’s (No. 153), but its aisle, ceilings and its chancel are richer. The destruction of this beautiful church was a tragedy. o rere Pe Pl ld tel ol eel el ee oe a a a g Yoiweee ie eo See=~ seni Vows om > * Lead 106 THE PAGEANT OF AMERICA betes elie hb beetles rd Urb itt Tr itr hie Vines baekch- Saleem rare tet ta Fak del oh las Val alert eke) . Se 5 - Er at ie “ ry {Po oy geen 5 — “ . hy fo cx ey st a dg - o Tr Ta) th ‘Way et) a A ahead bite bed be ed ge Lk nee en Td i ie Pea! eg ta) ve ee p ht A A ud . - r « Ce. eek) ' - ts (are ) ? a PO fever Se CAS Sean ts Shonen treats ah Seine) INURE ek hang trp senm ee , 45 * P fee) » 7 ee ke Ah tt OO Pe = 4 te ae eg ae pas. at . i> 7 al et G L . hd a et aby att le ae em yet sf x or eo ether NEW YORK CITY HALL IN 1826 THE New York City Hall, begun in 1803, was in many respects the ater aie ites heed ey U most outstanding public build- ing of the country at its time. Both a Frenchman, Mangin, — probably the original designer — and an American, the famous John McComb, who detailed and supervised its construction, were its architects. It is possibly to the character of Mangin’s origi- nalscheme that thestrong French (Louis XVI) quality of the whole is due. The perfection of its scale makes it effective even to-day. ee ee ee (Maes B ean K ae ; * f Pa f : eh ye a ae te Le at) ae oc 2 i $3 1, i a a re ee 4? aoe a ~ ROTUNDA, NEW YORK CITY HALL INSIDE as well as out, the New York City Hall is unusually dis- tinguished in its detail. The rotunda, with its curving marble staircase, its ring of graceful columns, and its delicate iron rail of Louis XVI design, bears comparison with any of the work of the time in Europe, oak both in the sureness of the con- TERETE RT fa Ta ception, and the delicacy of the ASS 3 4 5 Sk es aa Es ee om Pe ee ee — he x © om ee 3 aol . A eye Ss _ 8 ~ 2 in Wien e Ler tee Les de ee 7 7 ra a we AE : th aps i> iP ~ hte ’ tae one - Chae < ee Ue es ae ee as ay, PIASA ———s : : 6 a By DEB aiid ih Te Aa pee ad pea we RY LNs aves Z execution. Courtesy of the City of New York Art Commission eg a i ~ x ea) sa bs} theta be) Cadre t nt] ele tes Lea hele er lade Nel ald or hele te Latte LE al a ae the) Ay 2 X de Aes 2 a .aky Fe i i = at Stone Oh re + ay eg TO ete a : -) a = 6 a Se Se See ed et hs eaARCHITECTURE IN THE NORTH, “LATE COLONIAL” 107 VIEW OF EARLY CINCINNATI CINCINNATI in 1835 had become a city. This old view shows brick build- ea a | “3 ea - AF Sm | See Pt A cee ah sO | ings crowded together, ae ge Pa Reg a | z ane “im Bee i ac a eee are without plan, little two- ee come || tf: ma fi) ml aie sok ea: {eee eae : story houses remaining aANeR VE ir ee > aa AE vy , ; \ 4 $ Le ac + f J sandwiched in between ! a “tT ee ek we larger neighbors. Arched , aml Ne a e doors and Palladian win- } CAP eb agers! ee pil 2 Es ere bce ae dows remind one of New [iit fhe SEN we bn York; but already the [ssi athe =a ene me unity ar the older, more 235 From a lithograph, ca. 1835, in The Historical & Philosophical Society of Ohio, Cinci aaa established cities is gone; haste in building and land speculation have produced in this Ohio city even ninety years ago the broken sky line, the helter-skelter a y which for so many years was and often still is the curse of American cities. ~ THE FIRST OHIO STATE HOUSE, CHILLICOTHE Ouio reveals most strongly the imported, seaboard character Lt Bt ae of the early western towns. This old view of the first Ohio Dit State House (No. 236) shows a square building with cupola ii and pedimented door that is as exact a reproduction of a New England meetinghouse as was possible. Beyond it is the white New England church spire. Ohio was full of New Eng- land people trying their fortunes on the frontier. LN h P vl A ue 3 eee, 236 From Henry Howe, Histortcal Collections of Ohio, 1847 CENTRAL VIEW IN NEW PHILADELPHIA, OHIO NEw Philadelphia, O., shows a courthouse exactly of the same type — the five-window front, the pedimented door, and the hipped roof and cupola that were used in almost - . YL: ryy . 237 From ene Howe, iiorical Collecttons 7 Ohio, 1847 every town in Ohio. The new settlers in the West tried to reconstruct the environment they had left behind, just as two centuries before the first English settlers on the sea coast had tried there to reconstruct the England they remembered. COURTHOUSE, INDEPENDENCE, MISSOURI Tue same thing is true even in far away Missouri. Independence, Mo., early had the ubiquitous square court- house on a common or village green, and around houses of typical eastern type. The New England tradition still held true. 238 From Herrmann J. Meyer, Universorum, New York, 1851 > i a 2 J a » & ia 3 a 4 ha 2 A bd 3 i A & rq € Cd 4 7 : a I B A LF I i re] 4 ie 1 bed A a a a By ry bd Sl . *s = 4 ae . | ra 4 1) a - A 7 = Pod ;pola) Sia a bated Lhe Leber) Lo DDL De ta bob ink ber iat bet tao} ee a i a Satta di aly ie Dita aab thai Ls oe a « - ai = F - os I ee a de me y Se baad Cb mc! ‘ ee et * aye ae 7 set rd a a Shea aha tad arta te baka bt bee) a Lae gait a mac ag om A ate an Ri cam _ ~The ee a ae jee J Aes Cake 2 Sot eS - Fe St it . a. = = Nn = pahleeatiant tea iebereteeat iat att Ei Cree eh i . io ne Eiht bara ge ar ee nn) fo) yt aa aged) See Ravi AE F x . ae ere en Na i en a ae le ee Ce TT BAe Ce eh ee ee AT So ter ale atthe dines td Fae hte i i a eas Pa a ih Ne anal Co Paha ah aS sy et SSE ae oe - ai =o) 3 a ee CHEAPER, 1X ROMAN INFLUENCE IN THE SOUTH HE architecture of the South suffered a greater change than that of the North during the decades immediately following the Revolution, but it was not the Revolution which produced the change. For even the Revolution did not break up the aristocracy of Virginia and the Carolinas, and the invention of the cotton gin and the consequent development of great slave-holding cotton plantations only strengthened it. The South, therefore, where it was untouched by other factors, con- tinued long in accord with its old-time conservative traditions, erecting the same creat manor houses in the English style. The factors which did produce great changes were, first, the foundation and building of the city of Washington, and second, the influence of the architectural learning and achievements of one great and popular individual — Thomas Jefferson. Lhe building of Washington was to the young country a concrete and moving symbol of its developing nationality. The creation from nothing of such a city was an imagina- tive undertaking of a scope which for the time was enormous. Into it went not only the best architectural thought of the day, but all the enthusiasm of leaders like Washington himself and Jefferson. The records show how close was the personal connection of these two men with the great undertaking; to both it was more than a vague dream; it was a concrete plan carefully thought out. Their foresight was fortunately matched by that of the designer, Major Pierre Charles L’Enfant. L’Enfant had training and im- agination; he thought in large terms. But his training was French, and the design he produced necessarily French in every line, and accordingly utterly unconnected with any vestige of “colonial” tradition. Yet it was a plan almost perfectly successful both practically and eesthetically; it seized the imagination of the people; it became, as it grew, a vivid object lesson of the beauty which might be created without regard for English precedent. The center of the Washington scheme was the great parked mall dominated by the capitol and the executive mansion. In order to obtain designs of sufficient dignity for these two buildings, it was decided to hold competitions for them. These competitions mark an epoch in the architectural development of the country, not only because they are the earliest official recognition of the architect as a professional designer, but also because in the Judgment of the designs submitted, which ranged from the simplest expressions of colonial tradition to the most ambitious purely classical projects, a step was taken which determined the style development of the country for the next fifty years, and had effects which are evident even in the architecture of to-day. To understand this judgment, which awarded the first prize to the design, now lost, of Dr. William Thornton, evidently of pure classic type, it is necessary to realize the 108‘ae ROMAN INFLUENCE IN THE SOUTH 109 energy, Inspiration, and knowledge that lay behind Thomas Jefferson’s enthusiasm for classic design, for his opinion had great weight in the decision. Jefferson was typical of much that was best in the young republic. A staunch, almost fanatical believer in de- mocracy, he had, nevertheless, an innate and charming aristocracy of spirit that made him a born leader. He was above all else a scholar, a searcher. driven by a passionate intel- lectual curiosity into a continually growing interest in all sides of life. He early pos- sessed a library of unusual scope; in it his interest in things architectural is revealed by the early presence of works by Palladio and Des Godetz, dealing mainly with Roman forms. It is characteristic of him that this interest could not remain academic. He learned to draw, and as early as 1771 he was making schemes for the completion of his home, Monticello, that continued to be a sort of architectural laboratory for him up to his death. From the beginning his enthusiasm was for work in the classic vein, for his birth —he was from humble “up-country” stock — and his sympathies alike cut him off from the strong English traditions of the coast plantations. Palladio and Des Godetz became almost his sole guides and inspiration in matters of taste. After the war, Jefferson spent several years in France. There for the first time he came into direct contact with Roman work; there for the first time, in the Maison Carrée at Nimes, its large scale and the true grandeur of its simple direct greatness overwhelmed him, and, by contrast, made the delicate prettiness of much Adam detail and the heavy baroque of much of the earlier colonial seem alike petty, crude, undeveloped. From that time on the simple temple scheme obsessed him, to find expression first in the designs for the Virginia capitol (whose completion, after heart-breaking years, left only a cheap caricature of Jefferson’s original plan, preserving the scheme, but little else), and later in parts of the University of Virginia. It was this classic enthusiasm of Jefferson's that played a great part in the early building of Washington, and so, through popular interest in the new capital, influenced deeply the architecture, and in particular the official architecture, of the country as a whole. Moreover, throughout the Revolutionary period and the first days of the republic, as somewhat later in France, the Roman republic took hold of the popular imagination. More and more that blend of aristocracy and democracy which produced alike the imposing figure of Washington and the extremely human Jefferson seemed to recall the heroes of legendary Rome — Cincinnatus, the Scipios, Brutus. Jefferson’s Roman taste was therefore singularly well designed to appeal to the whole nation. Nor were trained architects wanting to express, interpret and spread this new clas- sicism. A few were talented amateurs: Bulfinch; Thornton, the first architect of the national capitol; Jefferson himself. Many were truly professional: James Hoban, trained in Ireland, winner of the competition for the executive mansion; Benjamin Latrobe, trained in England; Stephen Hallet from France; Robert Mills and others trained in this country. Moreover, Hallet, Latrobe and Bulfinch all worked at various times on the national capitol, and so came directly under the spell of the classic en- thusiasm which played such a large part in the early growth of Washington. All the conditions were therefore propitious to the rapid spread of this Roman Revival through- out the country. The Roman Revival was a symbol of the birth of the new nation; as such, its popularity was assured. i ry 0 Uy J bf 4 % Ls BI t tJ FS he t 2 f & PB : i z a \ id es re BI iv] Bb v 4 BS] 4 of) SY | a . M . el = rR) a | 3 BI 7 Ry od s = 2, we edpodcast ee 110 THE PAGEANT OF AMERICA A TYPICAL FRAME HOUSE IN GEORGIA Framep houses through- out the early nineteenth century bore a family resemblance to each other. A house in the village of Riceborough, Georgia, in 1829, had the long sloping- roofed piazza and dormer windows that seem almost like Dutch colonial work, and the heavy projecting 7 end chimneys of the early 239 From Basil Hall, Forty Etchings from Sketches Made with the Camera Lucida in North See cate og America, Edinburgh, 1829 Virginia tradition. Again it is a case of the attempt to recreate forms to which the settler was accustomed. = - etinddiayabenaiean naan ammanataat PS ae ABS. oe Y : ; \ ’ os . - » | ~ het ee en ens Pad oS Weney - fe wee oe me ee tageuse eed eid eel Saal oat Tet rahe r at Le Leth tas or S Peg hae ia 5 > Se be rain bet ern b a bee Todd ™ Pritt lab d od ee he hee Tee eo i ra That teat « Ok! Aer THE JOHN MARSHALL HOUSE IN RICHMOND To the older centers of culture in the South the end of the Revolution brought not only new prosperity, but two new architectural ele- ments — one, the use of the developed Adam forms, and the other, an increasing classicism. The John Marshall house in Richmond bears witness in its quiet balance of white trim and red wall, in the broad low gable with its circular ornament, to the restraint that is a | re part of this trend, and in the combined Rea ae a ni ith i delicacy and correctness of the moldings to qe = = SS w the sureness of touch which is so character- istic of the time. iy a De + Le § p Tae Ae ea ie hee ie Pe? ars bo iy a jt eae a ‘: bs a) oe a : a | Re a fa m4 re 5 | he te 4 tp i yi \ a see a FT Barta: Ri Sy ~ iii a ae Cr eo ~ THE HOME OF HENRY CLAY, ASHLAND, KENTUCKY Henry Clay’s Kentucky mansion, Ashland, was built in 1813 from designs by B. H. Latrobe. The projecting bay-like porch, crowned with a delicate iron railing, and the use dees Sova Sod Lon eth aca ttle Thelin Ya Tattenhall Neel tee Ph) te ee ~ - —. a) an) a ots a ** . aa“) = . ~ OT ee id at 3 Sis ont’ - of stucco on wall surfaces as an integral part of the design are characteristic of much post-Revolution- 241 From an engraving about 1870 by John Sart aint owned rs vi Thom: is H, Clay, Lexington, Ky., after the painting by James Hamilton (1819-78) ary) works, But it is interesting to see Latrobe, some of whose work is of pure “classic revival” type, even at this late date using the Palladian window and a pedimented central motif so true to colonial tradition. J \ss Rar sheaiehaelea tcl htt nhmta tr hte recht bel Bod see tee tat bint "POs. Ps A - +e 4 lay, he = Soran ae WE oA ile a et oy = 5 . <= ~ of toe . - J ar ne - >" ns eos}. ROMAN INFLUENCE IN THE SOUTH 111 co. eS “See at ie meen ; apes i fae ‘ } 32 . . CF ahd, hm cat ist Sear inte & See et 5 ; ht ay sie aoe ae Y . Do yr HG ere i “ ks . 242 From a aah otogra a HOMEWOOD, NEAR BALTIMORE, MARYLAND Tue light and delicate Adam type of Renaissance, such as was used in the North by Bulfinch and McIntire, was never as popular in the South; yet one of the finest examples of it is Homewood, near Baltimore, built about 1800. In perfection of proportion, delicacy of detail, in the white portico and quality of workmanship it rivals many houses of the time en those in England. One important trend to be noticed, besides the finely Adam character of detail, is the attempt to make the house a purely one-story compo- sition. MONTICELLO, en, epee Reese) §«=9ALBEMARLE COUNTY, ee el VIRGINIA — nore JEFFERSON'S large ee house, begun as early as 1770, but not reaching its arent state until fifty years later, shows a similar attempt to express but one story. But in every other way Monti- oT ee a cello is the opposite of Home- Pees icnsey @ rs RC eee oa §=«6yood, for Jefferson, an architect an From) a:photogra phy by, Sethe 2008 and scholar and reader, despised the slim Adam proportions and was always trying for a return to pure classicism; first by means of using the “correct” proportions; later by actual study of ancient buildings. Monticello has a fine, correct Palladian Doric order. a ELEVATION OF MONTICELLO, | or AS DRAWN BY JEFFERSON | Wt f rr > ai eno SS | ‘ AN early study made by Thomas - efferson for the oEipaerntemter | ag er eer yeep rera = —— treatment of Monticello shows it as a two-story —— ; building, with a two-story superposed portico of | a aN } Palladian Dorie and Ionic orders. It 1s a type nwa Tw we of design which Jefferson got very directly from Palladio’s published w ork: and Palladio was, prior to Jefferson’s trip abroad, the closest con- nection he had with true classic form. But the ia | eo drawing is interesting as showing that Jefferson, lar aan aa es aes statesman and scholar, was, in architecture, though ——— =e : 244 From the origin: 11] sketch by Thomas Jefferson, courtesy of Clara self-taught, much more than an amateur. Amory Coolidge (Mrs. T. Jefferson Coolidge, Jr.), Boston a A i " 5 i 4 4 2 4 Q b i 3 14 2 ie ca ey A] ' 7 nN + ig Po ry ne he ri i} 1 be 4 wv | as a sd F ~~} " & i As = a es a “7 a Lr] , tt my sk mv 2 as a EY 4112 THE PAGEANT OF AMERICA hed eb br see ttt i tie i : treat lb oe ee ey a ee ee ee tol eh tet vette he eh ad od Valet iebetet Diet tale tet Cale tkiTY ee Ce ee it Ce « *s =e * bdo J _ > i Flay pe “ ae - - Pi me Oa pi . Se -— « Pig - a a ie b c % From the original sketch by Robert Mills, courtesy of Clara Amory Coolidge (Mrs. T. Jefferson Coolidge, Jr.), Boston WEST ELEVATION, MONTICELLO For a long period Robert Mills, who later became a well-known architect, worked under and with Jefferson i] Ne ened bab! —- bo wt on Monticello. The greater skill of his draughtsmanship is at once apparent. But the adoption of the one- story scheme, the dome, the severe classic spirit of the “‘order,”’ pediment and other details are all due to Jefferson. There are even preserved large scale detail studies made by Jefferson for the treatment of cornices, windows, and the like. MONTPELIER, VIRGINIA, THE HOME OF JAMES MADISON THE monumental classical portico later became a typical feature of the southern mansions and manors. It was added to older buildings; Madison for instance, at the suggestion of Thomas Jefferson, added a Monti- cello-like portico to his great house Montpelier, giving it the greatest possible monumental dignity by keep- . f ' ing the steps inside the portico so ta i a ia lens at bh il ba ee tl had dee do tek | al ee ed A ie ps in pe ee taser leh hand ntl bed eh A eta pee Le gn cee) “ia A —~ --) Fee = . . Seen = * a aca g ' —. = - “To > a Lt = gee * ir . = oa at - * 7 a bad 5 . : . . Cn ~~ 7 be * ~ 2 eh ~. mt ‘ - b . ae Me a he = S * =. . E ‘ z z > i ap - ae 1 tis Chas: : we . that the columns could run clear [ieee Pet Godrias he anacie er i mry on *. uf a A o mn a pan es - ed ‘ Fa. hae down to the ground. is ae sob ASSENT CEN SIN OL LE ON eae PRS 246 From a photograph by H. P. Cook LEE MANSION, ARLINGTON, VIRGINIA ARLINGTON, across the Po- tomac from Washington, has the columned porch still more monumentally a ey cow Tt eee - developed and treated with detail almost Greek — early Greek Doric propor- tions to the columns, but a i oa ae iy :' Meee =oman capitals and entab- a URY th Ss AY, = oo : eye ™ ) =a lature. The almost brutal 5 a . . + Se bt ee a Ea a be Oe my set ale Peat Tad Shes Leen Dart teas tien acl a Ride ite on Deel Wie che heron TS tent he <= ae ae Sa ena —- a re " . oe ee tae - ei hn . ‘CASS a < «> Ht <> an < ~ _ _ ~ te . >< 4 oie bake) eC ht dad en Oe ey oe ee ee ee! Le eb Oe tay See es et EN aS pa Sara ay 8 SF = ore J bh 5 . a - / Gas ae rf Tee eee §=strength is admirably de- web U4 £ , ) . . > le ae Tae Wenpeaeens mm) signed to count for the ~ -t~ ui : J i con —~ red oles dee te ih Nei Bata ns ih Sane ee ies eA ros ws 247 ron a photograph by Gramstorff Bros. oe most as seen from Wash- ington. * oa a xad Ss aa Poteet Up SR pe Seti ta tora oe = » RPE ht > haters ROMAN INFLUENCE IN THE SOUTH 113 = * A WASHINGTON CITY HOUSE Tur “Octagon” (Tayloe house) in Wash- ington, designed about 1797 by William Thornton, the first architect of the capitol, - BP ECPR SEE | Rit otto te shows the double tendency of Adam delicacy and strict classicism at work. The curved ror ee ae entrance bay, the delicate main cornice, é SN Pa st Oh ties) — the white panels between the windows = as show the Adam influence; the porch, and numerous interior details are purely classic. In this case much of the classic influence is Greek rather than Roman. The “‘Octagon”’ is now the national head- quarters of the American Institute of Architects. age ETE LS ee ed Pi bn eta ‘ie a7 “= israel 2 Soe hrc t eryereee - PEA CeO a 4 or Pay My iieranen r Mane Peay ek oang tbe ee my 4 opt 5 tev tPF AGIs tS nay . oe PT “ PO hy Loh, ~ . b af hp “es Are Leer aro oR oI te <2 es st p~\ ATA ed , ‘ a " 4 9 - - ¢ le ete bs BHI ok Oot ge ie eh ees Je tr hae os ee A eRe MANN Eien TNE) er PRP TT roe eS 248 From a photograph by Frank Cousins PURE Ha rie NT ALY ee ae ER A SOUTHERN STAIRWAY AND HALL THe stair of the Valentine Museum in Richmond — formerly \ ann veltnts the Wickham house, built in 1812 — shows the attenuation of stair rail and baluster, the use of niches, and the love of curved stairs and landings which characterized stairs and halls both North and South in the early nineteenth century. The old v Ye. L 4 H a oy i] Pay "a . 4 “2 ae io Georgian baroque influence was dead; the severe classic of the Roman revival had not yet gained sway; between the two che fad Peal ae ee ieee Pk te eae he was a period when delicacy delicacy sometimes carried to the ° nn e ° . point of effeminacy — was the dominant ideal. "a ig ‘ —_—_—_—— LN an. aA "ae eee ed 2 God SSR SEI IN 525 SC tie sae OP PENI es Ps rl ” - f | oe 4 7. THE CHARLESTON EXCHANGE ————— In public work, too, the same twofold | Aas, I at THeK “wa MECTE EO er ea tendency appears. This old engraving of ery eT Ta Saad “ee YG Te SI9d + . a Sy ea te es Fo pet te ed al ae hid ad the Exchange in Charleston shows a building "aT. ie whose spirit is almost entirely Adam. But it is the more classic type of Adam design Ser ee cS that is followed, and broad wall surfaces, ial ea ae ee eo Pa et tl be an arched entrance loggia, and a pedimented motive above with engaged columns, all help to give that strong, simple classic formality, with every element of the baroque Tt 2) vo) eliminated, which the people of the young From Morris & Kenny, The Philadelphia Album, 1828 as Republic were growing to demand. eR " lh Se > Qi Co Ne de ee ed oe114. THE PAGEANT OF AMERICA a) bed bed ber tebe tae be Tt et) te a if bd . . = Pe ee i Nate ee a) a A CLASSIC CHURCH, RICHMOND, | ines het ys hemeieats set a ol chat eet dee le Tce) Dole ea hte Lite otal tet on DeaL ITS a ie ry IF or Fee a & S - wae S ay RS Fs Ps « - - VIRGINIA a snes i | Tue Monumental Church in Richmond is perhaps | [STS ara Be uN the first attempt in church design to abandon the 4 a] Fg my Al ial) | eighteenth-century tradition entirely and produce ° iF Sessa: i en oe | a building in strict conformity to the spirit of the ‘ maxalets Bet iS | pure classic revival. In detail it is a hodge-podge a | s : of Greek and Roman forms; there are elements ee De also purely English and Adam; yet the whole, at a with its octagonal plan, its dome, and its porches, [ip aSwacoeon ower STC i strikes what is obviously a new note. ‘ Se ee Ghd acne eine RAIA “ a CLOT REN tes LI etn es SRE ICANY SOE ae ; 251 © Detroit Photographic Co. See ee ee etree bs ar a Pita meet ae Sn te A a tae ae rae Se De Pal nee ee t e ereoa ren ese Te - o Sd in Se wine a Op ee Aes " A . mom ci Net Ks 43 a 5 7 er i A | Vo | <} io 4 ee a é rf j yi \ i ! ; if 5 Bt ee ae ean TAP aN he 9 igen 252 From William Birch, Views of Philadelphia, 1799 i THE FIRST BANK OF THE UNITED STATES, PHILADELPHIA One of the ironies of American history is that the managers of this bank, founded by Jefferson’s arch political enemy, Alexander Hamilton, and bitterly opposed by the Virginia statesman, should draw the inspiration for their building from the Roman forms which Jefferson himself was doing so much to make popular. The first Bank of the United States in Philadelphia (No. 252), by Samuel Blodget, has a dignity of scale, a monumental grandeur that no building in the purely = a SS a ee ee colonial tradition could ever achieve. THE ARCADE, PHILADELPHIA Tuer Philadelphia Museum or Arcade shows the same desire to be monumental and Roman. Even the stark simplicity of the four large arches has in it a quality quite different from that generated by the colonial tradition. The use of a = ———— del eth ttle lad 20 ke OO ne ee ee ee Sa ets Mclean Ret Deut lee Dace Mitel en Reta el it on Nin ee Tne Yo) So S Sr Tiere re ia AA ‘a A arta a * nd " ; ok ; S S a é@he | ie etm i 5 - ar - a 3 ry , kel - Bs t Prat igs i . ce Exes, *. Piss ye eat ee rie 4 - “ ‘i+ eA et tia a ca sae! the niche on either side of the main arcade is another evidence 4 i nah es eee “ ra LER at sees re j * > a > IL le 1 Ia kA EAL of study, if not of Roman examples, at least of such works 253 From an engraving by F Sears & C rs Nek Hc : yy London, 1831, after a drawing by C. Burton, New York as those of Palladio, in which Roman types were shown. bch ele tate ee LEN od mee bet ht tet te bei Load Sa hr Fe aay A A Sh oh ane ae amo oe = Pie - ae ee 4 Fs aie MRT = - « . 7a Goel E ER ot bea) Fe ts hes See ey er ~ = ROMAN INFLUENCE IN THE SOUTH cL Pere tre Thor thorns ear ott JEFFERSONIAN ARCHITECTURE THE state capitol at Richmond marks an epoch in the history of American architec- ture. Thomas Jefferson was its architect, and the designs, prepared by him and under his supervision while he was in France, embody the results of much personal study of the Maison Carrée - —y rr eis that famous Roman temple in Nimes. The capitol was the first American building to be modeled entirely on ancient classic forms, not only in detail, but in general form as well. Difficulties in construction and official poverty forced an unfortunate cheapening of Jefferson’s origi- nal conception. Sure =" re Par erie a OE tan Me Ts Qo Staaten oe) ert? Per ee =* - Ty aes Bak Pr C ws & Fey Sey ee er me he Poe ee ey ee Katee es TL Deities eas ih 2h Se + ‘ Ss co ——— we a Ya - A. ‘ q * i i a “an : i r - a d ¢ Y T Ts cA: th TTT e tie se avih. Wy i : ' ‘ im ie i = J ais el ane ef " ae abe is ai Sa 7 et — en -- : - { . i H i i eee & faa ieiiil'- aay ae ‘7 x a i LY Hh ae Ui, 4 ; : i Tis & y= a ae -“ < fe eh ele re ty tie arte Ss i LJ , : Pats ee yi ef io t i. Le 5 i : ate fa s re - _ : 3 “4 4 ; 4 Aa” 5 . = : ata ~~ = "x = he se te Saree te oe RTRSY ere ee = = ~= ft —---—~ 255 From an engraving by Fenner Sears & Co., London, 1831, after a drawing by W. Goodacre, New York ag 5 prt fos Lal ol MS Aen BO SJ Ud THE UNIVERSITY OF VIRGINIA, CHARLOTTESVILLE Or all the architectural work with which Jefferson ert DM tas * YS FEYISSTINILET Se Gee oer a 4 PATIL eee Pos Pt) was associated, the University of Virginia (No. 255) is the most comprehensive. An engraving of 1831 shows the main elements of the group: a quadrangle flanked by temple-like pavilions connected by I oe ” Co RSE SS con pL eee oe | ee een = “SaRae / : colonnades, and at the end a great domical rotunda. > is panes All the orders used —Doric and fonic for the bit FITS 7 ; i a7 a pavilions, and Corinthian for the rotunda — were Ge ets intended to follow the strictest classical canons in Sot To = a 4 Sees che hoe ott oat rey order to serve, as Jefferson put it, “as specimens ol orders for the architectural lectures.” eo 1; ey THE COLONNADES, UNIVERSITY OF VIRGINIA THIs view along the one side of the quadrangle shows my se oe eee tn i i Ta ce res not only the temple-like pavilions that served alike - ” as classroom buildings and faculty residences but also the lovely colonnades that connect them. All the — r= detail is of the most severe and correct classical type. © Detroit Publishing Co. ao) . > Ur iat ie ee ~ eee a ee Pee) Pee bes adSper iet it bek Ut ine te rot “ i me ye bt} - Ot ee ; - eT a ee le en * I 116 THE PAGEANT OF AMERICA = THE LIBRARY, UNIVERSITY OF eee VIRGINIA ie | Taare THE climax of the whole is ; B22 of course the rotunda; and, like the state capitol (No. 254) it marks an epoch. In its direct simplicity of monu- mental form, the large scale and perfect classicism of its portico, and above all the purely Roman and Pan- ok hae berled Meus beste alae Aaeiaeed a tea i Pipe ts! Psheten chest ee he ok Fa Bie pun Seba tend Pd Se adi Ped A rene a yo . theon-like contour of its rounded walls and wide dome, nothing the least resembling it had ever been See he ee ee en M Sa) igh we 4h A a r done before in America. Dignified, simple, graceful, it still endures as a strong, tribute to the important in- fluence Thomas Jefferson had upon the development of architecture in the United States. It was restored [im after the fire In 1897. 257 e ne: oe From ae Be H. P. Cook i. bs ¢ La Ae ie Ey re ef 1" | E He re f (hea mr ie ee i e p fs cy d a VIEW OF THE CITY OF WASHINGTON By 1834, Washington, despite its capture and burning during the War of 1812, had grown to be a thriving town, with the capitol and the White House dominating it. Cooke’s painting shows the Navy Yard in the right foreground, with the capitol immediately above, and off to the left the rectangular mass of the White House. Already the rolling quiet hills of the site are being covered with houses and streets according to the plan laid out by Major L’Enfant (No. 259). rw rere. ~ Tea een 2 4 eS ee em Sty Es S -' 34 4 ep vd Na a tn en ha Ve Rel eet De Daal Raat Nil Did Nh Ren eee eet tt to et tt hed oe a I Dh gS Ht Tt ON, I a “ a ae PA, Nt Noe ‘ = eae . - - a « a : By p 5 os a - > . - 5 . * ee A a a “ _ 5 oe - Ee AA ea oe eae al ie =| eed chon af 4 a oA a eee ee ved i . Si Ne AAS ~ h ; >t me tee pia eeiet ire RR bese aE Sar 258 From an aquatint anernved aan W. J. Bennett, 1834, after the painting by G. Cooke. Courtesy of I. N. Phelps Stokes, New York A tT aA Nt Ral ttle Nae Lt ee beh he dort tk ote i i hl le Riles dee Rel Dad ae ee hal Del al tee Sd ; a te Ag AP 26525 Ee ees Og ate eee : ATLA lroject f agree: le lo thy / ] am Seater »Strvirs lor of CONGRESS Lb: a pet, ir: ter ear sixrcenh day of Fuhy, Mucixe = a - t os Oe by Wie Thy WAN We. Seus/ ~ ~ A, ? ? } LS “Nata (Lm pe yi Y =s r i[ y AN L / My Jose es Val i] | fd } Jt en ec a —_ ere ne Cae Porto 7 Se ed Sie pa ee ar 5 . i ee Sunicb eae 7 RED r ey sa VE u - "TZ tet eae <= es p as 4 neh LA, nis Cae ee Le PC Aad 259 From chart 3035a, United States Coast and Geodetic Survey, Washington, 1887, after the original plan, 1791, by Peter Charles L’Enfant in the Library of Congress PLAN OF WASHINGTON, 1791 Tue plan of Washington, laid out by Major Pierre Charles L’Enfant under the supervision of George Wash- ington, is one of the great marks of the t ransition from colonial provincialism to national centralization. The garden plan of the great palace at Versailles was in some respects the original inspiration. In its magnifi- Pd = eee Puna ON ee pc a ~ Ce ts 2 cent use of monumental vistas, its radiating avenues and ‘““aireles.”’ its monumental Mall, it was a piece of a — eity planning not only unique in America, hes ratios, | but an advance over any then existing city ve plan in Europe. 2 ) Cr Phe Ud - pert) To} On Se 45 = 4 Ln | JEFFERSON’S DESIGN FOR THE WHITE HOUSE THOMAS JEFFERSON submitted a design for . * - * Sc go Re th ar - yep YU Fk } peat TG St vw ew ieme © = = a ~ BO Ey rs ee the White House competition, under the fe name-of Abraham Faws, which shows how 5 L | ata | | | _ strongly he was influenced by the Italian i a =— So eens pases | architect, Palladio, whose books were his fe | | | | constant inspiration. Jefferson’s design not te | 12] a | File only resembles Palladio’s work; it reveals be | aa = Lt bel _et_iet a AWE oe : as well how he loved simple, monumental 3 C Ee = = | forms, and especially domes and porticos. af 260 From the original competition drawing ¢ by Thomas Jefferson in the wy ae ae Maryland Historical Society, Baltimore * > a s * ie C ie i) ” T aed te) givinSYID POTN Owe vee PRR er eke Ek ee 118 THE PAGEANT OF AMERICA rae: eas vi lai el a tao THE FIRST ARCHITECTURAL — is COMPETITION IN THE Ne UNITED STATES : oi, is Tue decision to hold a competition for a design # ae 3 ae | z for a national capitol in the new city of Wash- eS Y YS Lees 3 SS | i 7 , xs i ie ington was a most important step in the Se ha 7 ier) gs ¢ cs . | i a e architectural progress of the country. Presi- ae) 8 i MEGS 2 | i dent Washington and Thomas Jefferson, both boone pie ee a eae : enthusiasts in their interest in the development Hee el Ha | 4 en Hi 3 of the national capital, and both interested in See aman SUL eSic ae New a Ee ee BS architecture, Washington officially as president fom . ® and unofficially as a cultured gentleman, and Psa a Me ae . Hi a a f Jefferson because architecture was his greatest [ | (2) i | EUCLA ell te! at | hobby, realized that a building commensurate Bo | | with their dreams demanded much more than 26! Front Elevation by Philip Hart, from the original competition drawings in the M:; aryland Historical Society am the skill of the village carpenter. The need for the professional architect was not only acutely felt; the very fact of holding the competition officially recog- nized it, and the results to-day certainly justify this early realization of the importance of good architecture. We cannot doubt that such a | competition as this attracted the best | architectural brains of the time; the | | hd ot ee kk i ok teed CR ae bo a gh A (Pet. S = er & designs submitted prove an invaluable evidence of the level of architectural taste at the end of the eighteenth century. The designs easily divide be. at oe rs ot ' ' Ly t! cy i Le ar be ae + aE fi! { ie cs 7 ao themselves into two groups; one, | those which are obviously the product il. of carpenters and builders, self taught, and educated only in the native tradi- tions: the other, those in which true * | architectural creative power plainly | declares itself. Between the two groups is the design of Samuel McIntire. : | > »SsjoNns ) Aart < d 262 Section “through Front by James Diamond, from the original competition drawings tt he de signs of Philip Hart an in the Maryland Historical Society James Diamond belong of course to ST ate teathd tel Leet hd ea ett eat ty 5a a ae OS ese OF 5 a - 8 SA the first group. Hart plans a building purely colonial in type, but a sort of gargantuan colonial, enormously enlarged and exaggerated, without the slightest idea of planning or scale. James Diamond’s design is more grandiose, but he was evidently a carpenter, preoccupied with such details as roof trusses; this design is complicated and unconvincing without even Hart’s colonial character. By contrast McIntire’s elevation Sa a a ae th Ni i aon a a Ne ht oe eat os toni on bel tae ace ee ; 4 a ere * nice eres af Re Ap a “ i seems a work of genius. fp cM x s eeceee Meee — ss — Tea "a or 2 Bess T= es ae ee ee | eT eT ee ee ae 4 f 72 Z i Mas A / . OA Ae iH , Bis BL rp! Bir , a / F $ 4] 4 t (./ & he aX 4 ‘} ie at te he ue wt, f ies PP ~waeers Lseneseee fh watt de bth) ‘ ; Tas Ss iii es oleate tat a | _Sorareaty RE wh nd reins ound I A —— : , = re exert rT ica WIT: ire ret SMICiLD GLICK ic Fido Lot cms ret al f a = = arelarer Sy iG rey) passe 2 Net Saeed i a Se pt aif | er thew at! eal) Eds mne) tamed § Lawn! ft—reJ hm) {orndT Pe r o _—~ - a a ws Lt ‘ ’ mien <—u8 - > _ . é (¢-pikae te rr { } th . as I i { Ye ) nn | ena Lt ie Wl | | i ree iN WW i _\\ \\ A oe a oe path \ ee ‘ a i v \¥ t ey math! Me) A A) Ee) | PRA | born ee Se TN - ri oe x i ~ Vereen LSS co ‘ dog t on nr Obes 1x > | ot © t i } 7 ager ds! } q af tS 5 ie 1 Yd f yal He Brace fe ef b: ot Bee Et a B hh St ke . l ie sates tery hy — . T 5 ¥ ——— sr woken fxd w]e | = ean LJ ae ie" eens, | nemeveees | emenennes pewewweeenrs u/1t1 60) iss DE fi = 7 te ? wy vs ite) r "Ween Eo Lmadin — al a - hi ee 263 Front Elevation from the design of samuel MelIntire, from the original rian drawings in the Ninian Historical Society i é LY ~ - a Ted Wopted etna Pe * « ia , OA a = od x a = - = aee O : rs ‘ ests ‘ ede pert ‘ ar LAL Oe a Pit be ae, FEB ad edo a r ’ pr PA de A fee ot Ye A kee 1% 1-94 ue ane eae ; a tofu fb ee Peet {mace ®. ae TW ie Thee, r fog 4 : gP ses i827 ! ry es ay ar “4 ‘ . 4 ee ra ke bd Zit . ty Pe LW AY Be pe at 8 aE uJ a Yer eT os Ae PT, : & ’ a te tp sa | f U ee eis he Od Fie oi Ag AF. Fa ee Le ae ee * o S 5 : te a ihignse : ~¥ Bec te ot ores! Eat Fe . “s oS RECE Ex Sey PLL ENE SER eee eet SRR yr tre CGe tS Lob rte bella oe ROMAN INFLUENCE IN THE SOUTH 119 . ar ree Rage — | Sa cm an LAT Plea al . r | a a itv al i ; AE hla Cs el A) A Nee 9 5 ‘ be C " ih aS Sen ea Ray ee sab cif ie aba i — eM: enwiaead ‘? , . ; ™ ‘ S Sy i i - : my! et . 1 eA ot ee. | ar ee =" ¥ ° / GOR Res ie nt Ss x iy zs u rs ms ha . fp it 3. aS xe tf cu mC a4 . UIST ) 2 aS Ch Matin Oat Lat TRUS dies aa a ee. sa sree gp | - a aT eS sin aa - ‘ “ rn : - P ee | Ph ene gee al ay See fi on. ais me ow pre i . ~ ap ES — ST AS SS ar re 5 .) Pp a a fc yee | Bea a : ~m ee ee THE CAPITOL OF NORTH CAROLINA AT RALEIGH Sucu a building as the new capitol was bound to exert a profound influence upon all official American architecture. Embodying as it did so much thought not only of its architects, but of Washington and Jefferson, its style met with instant and wide-spread approval. Every state capitol thereafter must have a dome, columns, and a three | part plan. This old capitol building at Raleigh, North Carolina, Gi begun in 1794 — two years after the national capitol competition — ANA A TAT i Fe MGA la iit AM oN a 4 wr) or a — c _ Te rR Wn TEMPE Y oe i ce 274 From Glenn Brown's History of The United States Capttol, Washington, 1903 was an early example. SN dt he ied hee Cat et ee eR be See Oe het CE ais "LPS FAAS ees i 5 oar ot ioe taROMAN INFLUENCE IN THE SOUTH tf J ~ -¥ t OFFICIAL ga CLASSIC } IN NEW YORK }\ ‘we 4 1 A j Tuerold Assay Office 4 a gp ih a teste gee Sp St tt Seg ee ear nee de ak Ft AE ige aa | Senos ae on Wall Street in 3 1) ayy es os : i Tr + . ° Pry 7 . ; ' & New York, built in Jf aS 1823, shows the wide rey Te % spread of the Ro- ge Za man revival. It |Bysctiseent& was originally a Bank of the United States. With col- umns, a pediment, framed and corniced —— =" ty windows, a rusti- cated basement — it shows all of these elements that were becoming so popular throughout the country due to the examples of federal building in Wash- ington. It has now been rebuilt as the ees HN TELC aE front of one of the 276 From a photograph by Frank Cousins a Py iy ‘ i = 5 C A ied - » i ¥ Pa ht = - - fs ‘> : 6 a ry SS Ot ee ra y FL citi, dete Us i) ac OY ee Mite es lg ~ 2+ : i a en cane . A eT < a “ Pee ey Perr Te ee ge F a I | ; | eed Dard Sek Se 8 Na tee wa x wings of the Metropolitan Museum of Art. THE POST OFFICE IN PORTLAND, MAINE Tue Roman type remained for many decades the usual model for post offices and other buildings of more or less official character. Typical of the later Roman revival post offices is that in Portland, Me. At a time when the general level of taste, creative ability and craftsmanship had fallen to deplor- ably low levels, the conservative Roman tradition for official work saved many a building from being an eyesore. What- ever its faults in de- tail, such a building — and their number is legion in this coun- try has something still left of dignity, quiet, repose, and academic beauty. Buildings like this kept the classic tra- dition alive during many decades. 277 From a photograph by W. H. Gay ee ae) ry See) fie a & Ie eros he A Pe eee ee aes eee tt ett tre ror ey ot iii a Sok Se Sere MUPPE CPE NERERPECRE RE EARP ter err TLurt hom et als xX — oe — (eta berit Sl = ast a fsa water iw Ae a , = + Vow ee hae a ee Nee Ee fea Dhaene oit Ss Cs ee Mr eas - rr ° “3 Tae os) ta." *)* - Pag hy ths | oy ETC ee Le FaN Rep ke pie Me Ad st et Se a ein A (0 Pan d . el " . yom ox eae Pah Ie el ot oe ee SAL J «ohne? oie ia ta ee) “Sc 4S Sf 50 y PP a Pe dl el a ger wer oe 5 Ta oat £ G14 he ee Tid Se i teas o Je ed eee) ery Tet a ek svie i i ot oh rr = a as i - FOG IS . 7 . x 5 ‘it oe Ye ott pee are EP Sh oe ats lh "Sx ie a Ce hal ra ¢ SJE Rae. ea 5 ee ed ae S — Cer aw) Re + Sr re eo oe ee i Poet ee eed fev ale she a “ae acc aeroce bite mbm. ta : ae ee ay rh eR om ae CSBVAG RRR, OX THE GREEK REVIVAL—GOTHIC INFLUENCE Sa heats hee Dat aed ated bla is hel LL bth a ideal cel bee had . =. ome tas peg ee FO Phe a * rs a eit re os a N'THUSIASM for things classical, once started, could not be expected to stop with Rome. As early. as 1770 the Library Company of Philadelphia owned Stuart and Revett’s Antiquities of Athens, so that even before the Revolution there was some knowledge of Greek architecture among the literati of the country; but before the use of Greek aes became common, the Ronan Revival was a necessary step to break the dominance of the colonial traditions. During the early years of the republic, knowledge of Greek forms became more widely spread. Not only were these years notable because they brought into the country an influx of architectural books, but also because there was an increasing number of architects trained to use them. No trained eye can be entirely blind to “he peculiar refinements of Greek detail; it is natural, therefore, that in the work of both Latrobe and Bulfinch in the capitol at Washington, Greek as well as Roman elements can be found, and that a strong Greek influence is discernible in some of the books of Asher Benjamin, colonial as, for the most part, they are. During these years, too, knowledge of many things was increasing rapidly; travel was becoming less difficult. Nicholas Biddle, for instance, in 1806 nad traveled through Greece, aa remained ever afterward a confirmed Greek enthusiast; in the Port Folio, a magazine which he owned, he published in 1814 an essay on architecture by George Tuc wes in which Greek architecture was asserted to be the only type suitable for the new country. But the true Greek Revival was in no sense merely the result of such aristocratic pressure. It was not imposed from above. On the contrary, it was in the widest sense a popular movement, deeply emotional, and despite its classic guise deeply romantic. It was but one phase of the world-wide romantic movement of me early nineteenth cen- tury; it fired all the western world with enthusiasm for the cause of Greek liberty; it was symbolized in the bringing of the Parthenon sculptures to England by Lord Elgin; it sent Byron to die at Missolonghi in 1824. Like all popular movements it Haale its proper architectural expression, and the American Greek Revival was one part of world-wide Greek Revival. The American phase was not the mere copy of a movement already existing in Europe; it was an integral part of that movement, with which it was contemporaneous, and in some respects, America carried the use of Greek forms to a point which is unique. But the Greek Revival was more than that. It was also a modified form of the age- old search for an Eldorado of the a driving force hardly less powerful than th at which made those years a pageant of humanity moving w estward, pouring over the Alleghanies, over the Mississippi, filling the plains, at es topping the distant Rockies in tne search for some promised wenltins in the world of reality. These two movements, the mental creation of an ideal Greece that was the Golden Age incarnate, and the physical search for an Eldorado in the West, had much to do with each other. For this period of growth was, for many, a period of all the hardships consequent upon the settlement of new land and upon pioneering; it was, moreover, a time of profound intellectual stirring, a period of maladjustment. There was a deep disillusionment because the ideals pnatt had motivated the Revolution had not produced 124 ete amt ag 1 bd pati ret ha . .* as — : At bl J J bi bee Cer ema ep ek i ae gol G's" 5 oc an i; ta) ie 4 Ir tt Ay x | hs h: a : g EE J f: is by r f ’ a a LJ , ay d rae i 4 re ' ; ~ x i oe aa ae <— a aes A eo twe 5 “4 La = am ry a Sect aer Wilete ede Deans ee tl he Ret eT te Rd Nah Le leet Dee eon ts een tet et De itl Nae Ned itech oe nn pee 1 toes al Yo Png OY a ede aed et 7 hate ae bait om See “pe a Sr a " ne a pt iartoly oe y nace Sa “* Ye ge SPS SE ee! nay ot eae 74S eof he hes = _ ee > fe 4 Da) tpl h aA ad bat mate et a bh Ame thE it ote 5 tee Fe «4 a a ee es — o &THE GREEK REVIVAL— GOTHIC INFLUENCE 125 an immediate Utopia, and now the later Jeffersonian ideals were breaking down. ‘There was political chaos; there was the ugly beginning of factional and sectional strife; and there was the so-called industrial revolution. Already there had been, in the East, a remarkable factory development. Mulbert, describing the suburbs of Boston in 1826, comments on this. Speaking of the lovely country houses that abounded, he says “their elegant architecture, their white walls and green blinds, make a striking contrast to the sombre appearance of the factories, which are recognizable by the brown color that they are usually painted.’’ And he adds that Newton was “‘remarkable for its numerous factories of every sort, such as iron foundries, cotton mills, paper mills,” etc. Wealth from this new industrial source was pouring into the country; but the development had been too rapid; the new industrialism merely added one more element to the chaotic thinking and feeling of the times. Such a period demands a Golden Age to dream about; and this Golden Age was Greece. Books on architecture, showing Greek forms, began to be multiplied. Minard Lafever’s Modern Builders’ Gude is typical; it contained designs for various types of buildings, and details, beautifully drawn, of doors, windows, chimney pieces, in pure Greek style. This book, published in 1833, proved so popular that a second enlarged edition was required in 1841. It was by means of books like this that the use of Greek forms was spread over the country, filling Ohio, Missouri and even Michigan, as well as New England and the South, with the characteristic temple-shaped houses. A style so popularized was necessarily a sentimental style. Greek detail was used not because it furnished particularly appropriate building forms, but because Greek enthusiasm was rampant. As a necessary result, it was a superficial style. It taught people to think of buildings not in terms of use or function or good planning, but in terms of details: columns, pediments and moldings of the correct Greek profiles. Use was everywhere sacrificed to looks. The Greek Revival has been widely condemned as superficial, artificial — perhaps rightly. It was superficial; it partook of the sentimental, romantic nature of its time (a time that produced both Poe and Longfellow) but it was not artificial, for it expressed a deep-seated, nation-wide emotion. Moreover, the traditional instincts of native craftsmanship were soon at it, changing and modifying everywhere. Columns were made more slender; moldings were simpli- fied; carved work was frequently omitted; new forms were worked out for window and door trims and the like, full of Greek simplicity and refinement, but yet typically of wood, typically native. Thus the Greek style suffered the subtle metamorphosis that had over- taken English forms in colonial days, and that to a lesser extent modified Gothic details a little later. It was these subtle changes, the result of a well-based craftsmanship working on the archeological material, which gave to the Greek Revival in America its unprecedented vitality, and which made it possible, as Fiske Kimball points out, for Greek temples to rise often side by side with the log cabins of the first settlers. The vitality of the American Greek fashion in building is proved by the way it subsisted beside, and eventually, except in church work, absorbed the Gothic Revival that followed. For the Greek and Roman Revivals made a Gothic Revival inevitable. Once the theory is adopted that the most vital and beautiful architecture is the result, not of creating anew on the hasis of actual needs and materials, but of copying the work of past ages, any one chosen moment of the past may become as architecturally stimulating as another, and every increase in archzeological knowledge may mean merely another style to imitate, another revival. And in this development, the beautiful Gothic monuments of Europe were too important to be neglected. The Greek Revival succeeded where the Gothie, except in church work, largely failed, because 1t was based on an emotion deep in the American mind, and because it lent itself more readily to such craftsman s modifications as took from it the curse of mere archeological copying, and gave it the status of a style almost new. se ra »* SEO pantera tas Pee PO id ~- a be ) TERE ee RPL EN ERERED Ree PPP tron tur tt por phot S Ty eee Pee ey Pee ey ed obey ere 7 Sapa Wired AAFSO ENR BS Ty Le EN ek om) So Hernan ta er ea rac SS PES PUNE te hort tt tae ted ee ee Aes 4 = Pe Re eee ee Pe u ao eT ee Te To aie Sewwlareat iets Ee Rice ah ay eh Per ita Bf ger ae “i Seis Mean ~~ - - “ tre PEPSI ee O32 eS Se ¢ ARO PEP SE Ya te Perea eee Pat Pol ad Ta RET, EE “ee PC ELS ae od GN ee GIS as Sel hs tee te Pe ee eee ee ha sa pe o_o = S Pa va ee 77 jak Co - Ot ae cl ” * v7 ~- 5 a ye gS te ea Pe et iG iF 32 Te 5 VA ep eee oe Dele de Se te Seam ey =ey re es p an 126 THE PAGEANT OF AMERICA ves Phar er tite atom eth “ Rit he et A ( “THE SCIENCE OF ARCHITECTURE” TO MILLWRIGHTS, Carpenters, Cabinet-Makers, Ship- Builders, Masons, §¢. who practice in their professions, A BROADSIDE of 1813 shows that in this early period there must have been not only a growing popular interest in architecture, but also a demand on the part of the mechanics for an education to fit them to supply the need of a great amount of new building. It was this growing interest in architecture which helped the spread of the Greek Revival. THE SCIENCE OF Architecture. Those who are desirous of learning the principles or theory upon which they are founded, according to Mathematics—as, Mensuration, Gauging, &c. together with drawing (as well as others, who wish to Jearn Mathematics, in particular, in all its various branches) are informed that WILLIAM SCHULTZ proposes, by the particular desire ofsome of his most intimate friends, to open a NIGHT SCHOOL on the Ist of October, 1819. To commence at 6 and continue till 9 o’clock in the evening. Private lessons from 9 to 12 in the forenoon, and from 2 to 5 in the afternoon. Price per quarter 10 dollars. A GREEK REVIVAL COUNTRY RESIDENCE THE period of the Greek Revival was remarkable for the widespread knowledge of the style and the correctness of This came about through the wide Ch . F . _ ape pemaetseat erate ape od id elated Pleas ted Rh hed a Put tee des Weary ais po, ey hy \ heen nied ig « ct be forms used everywhere. distribution of carefully-made books showing plans, eleva- tions, and details in the Greek gs Minard Lafever’s Modern Builders’ Guide, New York, 1833, second edition, 1841, was one of the best. The eee (No. 279) is one of its plates which shows a large Greek Revival “Country N. B To render the above learning easier comprehensible to all classes, they are respectfully informed that Draughts, Drawings, Paintings, &c. will be exhibited with that view, and consequently will render the knowledge easier known, ond proficiency sooner acquired. It is hardly necessary to.men-~ tion, that Mathematics, including its many branches, is the mother of invention os the principles are governed by philosophy, in application to the arts, &c. Any farther information may be had by applying at No. 5, Courtland-St or at the New-York Free-School. Printed by Hardcastle & Van Pelt, No. 86, Nassau-street. Residence.” 278 From a broadside, 1813, in the New York Historical Society nln 5 Mitel] Smear. a “ Ned ae lm tacartenta Se Stat ine ot rit hed iD lL er ba hdd Lien etal SS ot - le oo : * be = Send ior in anh tha ms LD oe rs 4 ge a eet 4 m e i i es bea 3 ms it - et i 4 es hee ri re | : | ts a | , ee 4 $e aed Uo Be: . | ee | e I ; et - : on 4. on ste a | = bh = : apenas ee | = = ” fess eases iy a": Be ae one a 279 From ) Minard Lafever, Modern Butlders’ Guide, New York, second edition, 1841 \ FY ay ~~ r THE FERRIS NS HOUSE, NEN NEW YORK In execution, few Greek Re- vival houses are as rich or many-columned as the pub- lished designs. Given four Greek Doric columns, a pedi- ment, and smooth walls, the result is the typical Greek Windows, Wy . rereviiade ore foe ITS iat bd fo j Hy} PIT LTR s Li ii} iff Hdl j Hf} i tt] j Ld, i i Ji Revival house. not being Greek forms, were sometimes difficult to handle. The Ferris house, Bronx Borough, New York, is a typical example of an attempt to be Greek. 280 HTH Hy ei HH “fh Ae oe DN les La michele te het a a Becta ath a date od that Ee hate ett) tel to) en te ore et elie hed ° - a a WA ae = Se et at Bao) 2 * Net Gad " Sy im Z > - ; we See ee a —- < onlee % neh hl Tea ie CR oe Ss e wets Pe eet tal . ct ee Sal eke Pi Bp ee So Ree, een SS Te ee er] \ ae aie: a) Ls nt Poet st A EEE LS Ls - 5 ‘ie oe on f = ae hee PP eS i Sea PRINT ES ee i . 4 ") Oe ee Pe ee | Pot) 2 al Er — = S 0 - 5 — CP ea a os ia Ad *ar "ie om 3& Pi Peery Tas ro Pars se ewcsm * - ~ te ue ew 2 “Term Tat etl a , A he 5 . . eu J . Ver Ps ott ad ats a 3 - io mo a ’ = rye 4 a a oe ba Bx Vege ats 959 Me Pe ee ek) — r-f5 * 7 ORT Ce eet 4 PO EATS il ads Se a ee i weer we ee Pere hy , 4 aa,132 THE PAGEANT OF AMERICA iF A GREEK REVIVAL HOTEL IN NEW YORK THE old Astor House on Broadway in New York City (formerly the Park Hotel) was another such luxurious and fashionable Greek Re- vival hotel. Great dignity is given by the pedimented porch and the _ pediment- Clete anal i eel eatiel ated belted Lo Lee ee at We) 7 =, y s o ‘ 5 mth tetmmirotea a he A bur ea Pein iad Caan kadae dh ple ert) eek beh ht rs) beh ak bet het ota bel tet tO th > hel et Phe a : be - es wat 5 - - = . ed shaped coping over the central motive. However Vs bom alt = eet ee 1 —7., illogical, there was in such building much of the beauty tee Ohte b) Seh oe een es rant ~ Clee 2 SE y ab J. ns that comes from the sober dignity of the copied Greek Sates Cugihey Gnemce: ees = forns. From a Pi choesanh! 1834, in the New res Historical S Society EI ep tte see Behl Lasts Mae hada Li eek i a} Rig be pe th kt eee = ae pe ek } THE CHARLESTON HOTEL, CHARLESTON, SOUTH CAROLINA Most rich of all the Greek Revival hotels was — and is —the Charleston Hotel (No. 297), Charleston, $5. C. The columns are pure copies of those of the Choragic Monument of Lysic- rates, though much larger in size than the originals. In the cornice the architect has tried to combine the richness of the Roman modillion (bracket) with the purity of the Greek detail and has placed modillions in the dentil course itself; an attempt more original than successful. The Charleston Hotel reveals the beginning of one of the chief faults of much modern city arch- itecture: it is too obviously a one-fronted build- ing, with the other sides skimped or forgotten. +s ~ o Sg en dank alr ree ace ea hth a ee Ra oe athe bi adhe Nata ae chat hel ere Phen. eae Le = Sr" a 2 — e A AiNog ss > ee ae id Pe % x * ° & € = oS Cl Nien bein eden et teed teat hel heed eek he) te thet Tee a he oe oth r 4 4 Ma o a ~ 297 © Detroit Photographic Co. THE BANK OF BALTIMORE B. H. Larrose’s design for the Bank Baltimore shows Greek Revival forms ap- plied to commercial use. It is also one of the very earliest buildings to use Greek forms, for it was built in 1799; and yet its portico is pure Greek Ionic from the Erechtheum. The composition as a whole is more original, logical and living than that usually found in later Greek Revival buildings and _ bears eloquent evidence of the talent of its designer. This is the architect’s original sketch per- spective. a >» 3 I — oa eS yy m ie Se ee Set] TESS =~ =< S =— - 7 4 Sei | wll ri = ed aa ae a nN de . Pye: eats Cae pein Sy Aa hoe eh cal we seas EN eh ae 298 From the drawing by B. H. L atrobe in the Warland Historical society, Baltimore Sk Pichia ela ae Dect tal tee arte breathe She tee hotel ted hel te Chel a al et ee etre! : - Ve Tay ¢ 24 fo hed 'C EA ‘, ; ee ar PI or + ars * “2 ee = es L—FRPHSEEDE <5 Kt ttc hr ork ei hey) ies eee bella ae) ~ ~ THE GREEK REVIVAL—GOTHIC INFLUENCE 133 =~ == THE TROY 7 — FEMALE SEMINARY, 9 | | 1835 iv IEEE DurineG the period of the Greek cee ce Revival in both East and Middle West there sprang up numerous — ea) HER DR errr bree rer ie CUGrC not ty } schools, academies, seminaries, ai . | ; and colleges. ‘To these the Greek i 2 ae : Pans guzel esteem Sizer | 5 Revival forms lent themselves I ‘ (i) Baoremnesess eve aay SSS a readily. The Troy Female Semi- SE + ack es ae be re Ae ie z nary in 1835 shows a long dorm- i Ra “Ase ies ae eet , 3 itory of a type that was almost it I. fs) ep oe Be D universal, with Greek feeling in 4 Tah tee pee fs UR 4 details only. ‘To the left is the nie uae i i Wal iit i Ft Ld a UL fi e Greek Doric porch of a churchor a fiat Hit tated : He . —. Som a = i chapel; to the rght, behind fem pan Sere aT ee een RTS eet ae ee g = aah at NS es the dormitory, another Greek 5°) aa Se 4 295 ‘rom a lithograph, 1835, by Pendleton, Boston, after a drawing by T. Lee is colonnade. 4 - sedis PT Toe FST he Rare fHARLY COLLEGE BUILDINGS IN AMHERST, MASSACHUSETTS Tuer chapel and dormitories of Amherst is er oN hy ray. See ae a ye See ee eT uJ oe College, Amherst, Mass., as seen in 1831, show how the extreme restraint and simplicity that resulted from the poverty of many of these old institu- tions were themselves, esthetically, often Fe , yy od A ] ri i a virtue; changing and modifying the richness of Greek detail, molding all Pry ee ye Leen S ar into a whole still recogniza ble as in- fluenced by the Greek Revival, but bh ol Fe He with a rob ast vigor entirely American. soul: T+ Zatcm 2 ars yeaa & HA AOE PSE Sr ieie bain behets. 300 From an eee 1831, by Fenner Sears & Co., London, after a drawing by Alexander J. Davis ye 2 Pidg oe: Par Yas a oe athe at te ek a ee eas PO a _ : SAN eee SOC 3G See eo Je FN OE a ey a at ee ee GIRARD COLLEGE, —— IE PHILADELPHIA —— : coins WueEN the institution of ke) —,, learning was rich, there iy f ETE was no such molding and | Lari —— OE Ssh aan ~ i] Se Ye ‘ ps - ss add ane eres a ‘a "ie wee modifying; the details and “ay et Oe a the forms, though perhaps s* r eu ee oJ ae a recombined, were them- selves copied line for line. The result, such as the Tyee ica fom Lo * ay" Paks main building of Girard College in Philadelphia, a fine Greek Corinthian ae ee ea a « FS FGI ee HG Cie dette Ge ie Wea temple, may be richer and 3 7 - _ “e ¥ 2 yi cee %é Pa ee ee ede more elegant, but it some- how lacks the vitality of the simpler, more native work. And yet such a building as this is a con- . ; stant esthetic education to all who see it. Notice how completely the windows are hidden from the front. ot wit re fa 301 From a photograph by Frank Cousins Pye oe os 14 T 7s i Be ee to ee amapa 134 | Chek olde tel oe Lk At ‘ ae " vir ry dic a tel ii Pace Da ek. fet! Wo mol Dee hail bid Lalita heen teal en alae " la dod hiae eet be het aed ble ber a - s Ooi : bt . Soe Pas vee eal - * is CW a: a ne . S “ Q ier ge wf ea * [Ab vy te Ui ois ea en queer rene {ORR eah i tea 302 rat A C. Bur Rae e PTs toys tal Ai Fenner Sears & Co., London, after a drawing . Searle _— Ste i - TA aa as rate =i " , = "7 # > es Aa &* Fri oo: ws 4 . » ree sy ton, New York cd P ALE PD THE PAGEANT OF AMERICA THE UNITARIAN CHURCH, PHILADELPHIA A ulitTLE Unitarian church in Philadelphia shows one reason for the long continued popularity the fact that one dominating Greek Doric of the Greek forms: portico, if carefully designed, can in some magic way confer an appearance of dignity, a rather arid beauty, and even richness, to the building of which it is a SDM e Teer tT Nee alle c 9) et et re part, however small or plain. Be aL Ee ‘ft atts S i eee eee Baa alah eat hahaa lle oe eh bd al S B Sar Se ee pie INTERIOR OF THE BROADWAY TABERNACLE A TYPICAL church terior of the Greek Re- a De eed x _ o in- vival type is shown by this of the old Broadway Tabernacle. Its amphitheater plan, with flat dome and no chancel save a project- ee ih ee lr i we ie ed at 3 view ‘ ing platform, was sev- eral times attempted in non-ritualistie 4 ie | ay 5 ie L 4 , a bit a it ae . Pe &; rT ee | Pad ae Ta ee i 7 i : oy Fi a churches. This was perhaps the most suc- 3 cessful expression of the type. ~ 303 F =— rom a lithograph, 1848, by Davignon, after a drawing b —-— bi aS i [ag Fah pL . i eee a> Bad ny ae Asteria ag =o dora) , rhs ie 3 = ne one, . J of bE Shee | z) \ a) ae y T. H. Matteson, in the New York | : es ee i | * a) ¥ Tt Pie | AO Awe ei Historical Society a ts tent thet hela ete tet bee ek tae treat ae eee eked eA ad fate ab er beh wth oR oS shen iia late ihe De alc hl eal Deceit eh dase ns bce aka ee Sen By ate ec J a Pe a a eae ae ae Oc Bhat he aN 6c 3 Phra hs Se 5 7 STF Att © Iara Cc Hea ~ Pas Th Nis Se . Se as i 79} 3 a hy i. Yy a. ce ne aig etre tes SAR eres f ec RA Fe From Herrmann J. Meyer, Universorum, New York, 1851 Sea VTEC eR D CA 8 SOS YG ; Lut ” t vee ee i mi ope ier ix rithoo THE PATENT OFFICE, WASHINGTON Despite the strong Roman trend in Washington, the Greek Revival had its effect there as well. In fact, the largest and in some ways the finest of the Greek Revival public buildings in this country is the Patent Office. Its long ranks of pilasters, with the windows between, the range of tri- =| glyphs above, the strong end pavil- Dy ions, and the central monumental porticos produce an effect that is Talon 44 ay 3 eit? , are ; ashi - vy ~ may “oy si nh A PP SON, YL We Vea ane rae “Ly sted ipa \, SOUR L, RY ee Corey neat NO UPD y) ee t . b AR c « . extremely impressive. RASSTabet le THE GREEK REVIVAL—GOTHIC INFLUENCE } j | i j } THE UNITED STATES SUB-TREASURY, NEW YORK Tue old Customs House, now the United States Sub-Treasury, still lifts proudly its eight-columned Doric front above the traffic of Wall Street. Rather starkly simple, with- out color or ornament, its innate dignity of form and the fine sweep of its scale and size make it count more than many of its newer, richer, and more lofty neighbors. : ‘Sahar a — co RR ee eit os 305 From a retouched photograph about 1880 by Soule Soe | THE ARCHITECT’S PERSPECTIVE OF THE SUB-TREASURY THE designers of the old Customs House in New York (No. 306) were Ithiel Town, de- signer of Center Church in New Haven, and Alexander J. Davis, designer of the Stevens house (No. 287). Their original design made much of a large central dome that sits but oddly on the Greek roof below, and which hardly counts in the existing work. Col- umns, as the plan shows, are used even more lavishly inside than out; but the plan shows a real grasp of monumental arrangement. 306 After the original drawing in the New York Historical Society a THE OLD BOWERY THEATER, NEW YORK Tur front of the old Bowery Theater (No. 307) shows how the pedimented portico of the Greek Temple was used not only on houses, churches, customs houses, but even on theaters. There was obviously no attempt in Greek Revival design to express the function or the ep e ° rT UE tl structure of buildings. | | iu | | | Wi | nt it 4 oA bievt SRR en Sr RS) De or) Soa mare eT Re a Rag eet ee 7 and ~~ - YS o a = J + ee Sa Set aCe : 4 a eee ah Boe! ait Eu 5 Lt me ~~ + i Z 307 From an engraving by H. Fossette after a drawing by C. Burton THE COUNCIL CHAMBER, NEW YORK CITY HALL - | Tue council chamber of the New York City Hall (No. 308) in the eighteen thirties shows a mixture of Adam, colonial, and Greek Revival forms to which only the big scale of the flat dome and the compara- tive simplicity of the general scheme give unity. 308 From an engraving by H. Fossette after a drawing by C. Burton PAGS aulaee ters LVR shoes os w= i. Py hese | ee og pay CSE P SOS PCr Ce eC Lee Fe ba fy + é ne PS re Cal yh Sb jr eee a. rer baie kot bate ti ere io oe ~~ TESTE TE Me tet tot gene fy EBT SAL DIO pe ee Se Ce Ue ee PA Wi See ee eg ee) eo ee :: $. zu 7 > 7 i A re i] med be) i o Oa ~~ ea ae eo oa Pine ae iP tO latte De hd OS winiate pe = a - Poy se sd 3 a a=sih> = 3 St Ae FS Pe Hea 8 a i ee did }e J pe eee ft ae ray er 1S Se FATS . ae 52 385 ad. <= iee ce ~ x Set oe er ed “og a Pe ie 5 a ea FO FSO e - ne Po OY a lt t PTs ~ ee Se + “ on o Oral pee ee ete PEN ailos Pee a ce. ee Pease Le eee & seem' 136 THE PAGEANT OF AMERICA “ws Sie penal nt eed P = THE. CAPITOL; MONTPELIER, VERMONT THE structure which was built in 1836 burned and rebuilt in 1857, is a char- acteristic example of the usual type in which the Greek element is ‘much stressed. The use of a higher dome, on a drum, is an advance on the low dome squeezed down on a pedimented roof, such as the New York Customs House possessed, but the problem of combining forms so essentially Roman Sl heel of id a a . . rete a a i hn Da on a ee el Ly treater eet Pi a mn a ao € ar o i Pp res ee " Sd tok ie bani dl Cr and so essentially Greek is almost insoluble. 309 © Detroit Photographic Co. wi THE TENNESSEE CAPITOL, | NASHVILLE Mvcu more original in composi- tion, and a much better solution of the problem of combining Greek forms with a high central feature is the capitol at Nash- ville, Tenn. This building (No. 310) borrows much from Jeffer- son’s Virginia capitol (No. 254); larger, it has as well porticos in the middle of the long side, and for cupola a slightly modified rep- lica, lovely in proportion, of the Choragic Monument of Lysic- rates in Athens. The whole building with its four Ionic por- ticos, its simplicity and dignity of form, and the grace of its central tower, is one of the frankest, most logical, and most successful of all the Greek Revival public buildings. | | | | | | | ghee whee m " ei ea bites Anka ae a ee = al ed ter eh ed ec a CLT reheat ee ~~ + ee ed a a * te gh ts Phy,’ c a i tae Nata Tal Nate el do del ae hk ten “ 54 pa tr a =~ vir Tats a - Py eS a. * — =. ~ = er ve a Cee a | | eee 310 © Detroit Photographic Co. es THE TOMBS, NEW YORK OnceE the door was open to the wide-spread copy- ing of Greek forms, Reviv- alism could not stop there. Archeological dis- covery was proceeding a a SN ee ee ae ata h tetas baled tt had tah athe eed = Pf * St Car’ re a4 ‘> a ra ) .) ere 5 Cae > i > tf D : af { : vt nt . { x 3 5 rt j f . 4 M Poi if / i ‘Ns a ‘ oe } 4 : . s/t & 1K STEEN BEST AOD AE ee Me i os 12 § ‘, 312 From an engraving by B. Tanner after a drawing by Mills NY i i If in the Port Folio, Philadelphia, 1811 ad { A : f Ayia dll i, DESIGN FOR A GOTHIC CHURCH Mrnarp Larever published a design (No. 313) for a Gothic church in the Modern Builders’ Guide, “very similar to the new National Scotch Church, London,” the only foreign element in a work otherwise utterly of the Greek Revival. It is an advance on Dorsey’s Gothic mansion, but still reveals the study of Gothic forms in its infancy. ! 8 ee ie Nee u i Of Pe ey ke ee wt hy as ee ee he OPC Ek NATIONAL SCOTCH CHURCH LONDON ee ott ibe Ms tot et a ee ee acai - Ah) or | PLAN AND ELEVATION OF A GOTHIC CHURCH I Se se rs nit ~ eS . ’ a ’ S c ( *, 5 ede ed Se af = = So SS ee PR pea ee ee Py es ed Py BCL », Y A wie i — ies) eet aT es — se - o> oy "i ‘i “~ + oo IE PY Ae FAS POP et tol) s C7 313 From Minard Lafever, Modern Builders’ Gutde, New York, second edition, 1841 Nae THE OLD MASONIC HALL, BROADWAY, NEW YORK Tue old Masonic Hall on Broadway, New York (No. 314), reveals, however, that even by 1830 much better Gothic than Lafever’s Modern Builders’ Guide church was being done in America. The Masonic Hall, in dignity, composition, richness and accuracy of detail, was unusually advanced for its date and will bear comparison with any English Gothic work of the same date. The off-setting of the walls, like buttresses, is, of course, an amusing misinterpreta- J _- heey Wha ee ei pt Sete) er SITs ee es I oy = fst of % a_i i ed ye e res OPT Oe ts - 7 - _ J bl = es Hy Pay ee te ae i ed * tion; nevertheless the perpendicular tracery is good, : aoe and the lower story unusually full of the real spirit Lou ss SS be pf ~ . : : 314 From an engraving, 1830, by Fenner Sears & Co., London, of late decorated English Gothie. after a drawing by Alexander J. Davis Uses poe oe ag, WeBCOLMUP ec ats PEK ules rate wed - eo; — 138 THE PAGEANT OF AMERICA RORDGL bubba btn nna tao r - P a* ah” gt, pate be - A FANTASTIC GOTHIC CHURCH ORIGINALLY built in 1816 as a Swedenborgian Church (Church of the New Jerusalem), of whose governing body its architect was a member, this building was agit hi tee e ea - tte nt eh 7 "i ea : CS Gea te EU sold in 1826 to the Natural Academy of Sciences. estes a re ° : I - ie m6 With its strange classic dome and cupola, and its pseudo-Gothic entrance and poimted windows, it is typical of a chaotic and fantastic eclecticism which occasionally marked buildings of the beginning of the Gothic Revival. Its very naiveté, combined with its pleasant broad wall surfaces, is a tribute to Strick- —— = Pe eT oar foo ae ar ea de deb eel eel ble alent iL Litre oarers Cent) me eb # . RE A. Brie. oe = = land’s skill in finding new expression for the new sect. VW Mmpale ine CT eo rot Tee It Cy. a a rae Fenner Sears & Co., London, 1830, after a drawing by C. Burton, New York THE NORTH CHURCH, SALEM, MASSACHUSETTS In New England Gothic ideas often found expression in a sort of homely simplicity that is frequently more akin to the true Gothie spirit than other richer and more pretentious works. The North Church in Salem is such a piece of simple Gothic work, and despite the absence of Gothic carving, despite elementary wooden tracery, the church has an effect of simple, dignified ee heen " Naa ak 5 aS + a . ae. oat al tiaras ah eat Sinead uh halted ber ht bei edt AR At a eae RS ak TORT See . , RPA eR PRI ~e charm. | ae | Pe é. Le: i ae ark ii; re c g ae a er ree om | a Os. 3 b. (bg Yi if iy . i r Hi rs Z [Ke Fai on Fe 316 From a photograph by Frank Cousins Se ae ly ae ee ns = eS THE SALEM RAILROAD STATION TypicaL of the same spirit is the Salem railroad However insufficient to i a atest ln toa on Leathe er Pathetic bende teed ten nine eet eae it. a ae « * Pn Ay station, dating from 1847. modern needs and out of date to modern eyes, when it was built it was considered a masterpiece. Like the North Church, its authenticity as Gothic is nul but its total effect with corner towers and great hatte Milla hit Rated tithe Lie hank ie Petia ee bh Wit eld pointed arch is effective, logical for the problem of a station as then understood, and expressive of the dignity of the times which produced it NS ble hee hte Cd tele ee et ee ee ee Oo Pn bt my. I a Sua x6Fe24 . “ = oR 7 ae Ae oft Re a < x >h 4 hkCHAPTER XI PIONEERING AND THE GREAT EXPANSION HE superficial quietness, sentimentality, and good manners that had charac- terized the decades that fostered the Greek Revival came soon to an inevitable end. The rumblings of bitter party strife, of sectional jealousies that were rooted in the question of the extension of slavery to the newly settled areas, were be- coming continually louder, as the land west of the Mississippi was occupied and erected into territorial government. And the great westward push of the population which made this possible was itself an unsettling, complicating thing, for it brought with it tremendous new economic problems. The discovery of gold in California and the rush of the Forty-Niners brought at last an American population to the Pacific; made the whole truly an American continent. Yet the settling of California was even more important as a symbol, a prophecy, than as an actual achievement, for large and valuable areas still remained unsettled, and pioneer- ing continued a necessary process for thirty years more. The effect upon architecture of this colossal westward growth, taking place in such a comparatively short time, with an intensity and rapidity of expansion almost un- precedented, was twofold. Obviously such a process — necessitating, as it did, the creation of thousands of new homes and new towns in localities where environment and materials were equally new — could not fail to make a deep impression on the building methods of the country. But there was a second more subtle influence, which was nation- wide, and extended even to the old-time centers of the East. For the adventure of pioneer- ing, the working of liberal land laws, the early course of railroad development — involved with what the modern American would call graft — led to feverish and unhealthy eco- nomic inflation. Speculation in land and money was rife, great fortunes were being made and lost. The older quietness and leisure were gone. Pioneering itself entails a certain lack of permanence. It is here to-day and gone to-morrow; speed is its essential. Even staid Boston, and New York and Philadelphia, were affected; the atmosphere of those years throughout the country was hostile to tradition. For the pioneer, tradition, or the lack of it, was at first of small moment. Shelter was what he needed. Despite Indians, despite forests, despite the almost treeless prairies of Kansas and Nebraska, he must make himself a home and at once. So history repeated itself; and throughout the country west of the Mississippi the pioneers built as best they could, using many of the same forms that their ancestors or predecessors had used in the forests and wastes along the Atlantic coast two hundred and more years before. So, in the forest, log cabins were built; for with one act two things were accomplished, the clearing of the land and the building of a house. The log cabin has come to seem the traditional pioneer house; its simple form has known little change from: the earliest ex- amples left to us almost down to the present day. So, too, in treeless countries sod houses and dugouts were built, just as long before the earliest settlers in Philadelphia had dug their houses into the river banks. 139 J 7 thd . ea he ts rT SEP EF EPEPR TESS 4 WahanADBGS Heiser Ie f aay . Ld — Roorrrt rrr trent thor cr oun rt ra ago HS awe Pease hear Fd i as a Bi 4 uk us i M4 ae bi : : 5 a : ot ui wi 4 ar a aa RG ry | > Aes we a | Py 3 phe ears am rete on Te Ss oy Pm — oo ababas re Se eae . “es S So oe ee ee ee PP ey Pe Pd rol ey ee a Cal ed ee . a ed Set [eT tae ant a 2g Ch Ry ed PSE a et ee ee SS Ty yo ee 2520 he ee ora a ee Pe Pa) ee ee ee er na] ae op Ss tem Po o 5 AVOW SOAS sii Cpe ae! Shalala ater ee feel wed oben Dah eel ote thie Ep eB Be * 4 Sad alate Daten atti a tela CR! oe os ane rt hate rota rt te dla bait te bE a Sd elie) Ee hedeect Si Petes te heel tants oe Cit. Shite OS ae ~ = - aera ia alt ee ead Pen Rees nw tet ET ee st rece as S ~ a . Poet _ - = - be . » Ce Ee . B a. « re ae Bn Lett ae 7 mE Te Ee - ite » el olen Pi - cn Pl $ E opm es n hs edd hte ee Dee te be eth otek one ee a a a ee hs 3 ~ Sod et hh rk Seidel ee et tT eye She ae RS AUG ee ee SoC NE NS err a tia ms ap bo Pa TA UI aaa Laat a Na atk a el at Sie oedema ote toe sl ~ ' . = - . =. a ed a e = 5 Le = . at . are ~~ 7 ™~y *» am oe * te on _ 5 = sigue re roca P are — = +. 4 } 140 THE PAGEANT OF AMERICA There was another similarity between the pioneer and the first settlers in America. Just as the Puritan in Massachusetts, or the planter in Virginia, tried as soon as he could to recreate in the wilderness a replica of the remembered home he had left, so the pioneer strove, often with a pathetic wistfulness and crudity, to recreate in his new environment old remembered forms. In the early days, it was the Greek Revival that was so remem- bered, and Greek Revival villages grew up to fill Ohio and Michigan; but later and further west these influences faded away, and the main result was that strange attempt to create an urban settled effect — the “‘false fronted”’ store or “‘hotel,’’ where a front wall is run up to finish horizontally and mask the gable of the one-story building behind, and is often furnished with cornice and false second-story windows complete. The pressure behind such pitifully disastrous attempts must be realized. The poverty of many of the pioneers was abject. Lawlessness was rampant, and lawlessness of life made lawless building. Moreover, the character of the pioneering population was strangely confused: adventurers, sharpers, thieves, solid farmers, bands of religious fanatics like the Mormons, the canny, hard working, rather ascetic Lutherans of Kansas and Nebraska and the Northwest — few or no artists, no wealth to spend on the luxury of design, and little wish for it. Yet there was the desire always to have a “‘town,” a center to which one could go, where one could get the news, buy necessities, have a gossip, go on a spree — and a “town” meant buildings of more than one story, and flat roofs — so the false front arose, and lingers still, a silent memorial to those chaotic days. But the false front was but one example of an ever growing disintegration of building ideals throughout the country. Land speculation in new or growing cities — and all the cities East and West were growing with continually increasing speed — was inevitable, and brought the ideal of cheapness into building as it never had been brought before. Cheap materials, cheap construction, speed, speed, speed, quick turnover and large profits — such an ideal leads to no great art. It breaks down the very foundations of creative design; it struck also the deathblow of the Greek Revival, and there was nothing to take its place. There began under this influence a decline of all artistic conscience — in strange consonance with a decline of financial and political conscience in the years following the Civil War, the results of which are, unfortunately, still all too apparent. In these years of phenomenal growth, years which saw the building of the great West, which saw, rising slowly but surely, the specter of the Civil War, there were but two constructive, steadying artistic ideals, and they were rather imitative than creative; the persistence in some localities of the extraordinary Greek Revival influence, and the beginnings of the Gothic Revival. Otherwise new wealth, new materials — cast-iron and the like — were used only in the creation of chaos, cheapness, ugliness. It is perhaps because the country was so largely settled at this particular time, under these particular influences, that, since the Greek Revival farmhouse, America until very recently has had no rural architecture worth the name.AEP EE PRES E DTT (304 Mei ot bens oss ATA PN ge es am « a] PIONEERING AND THE GREAT EXPANSION 141 er THE GOVERNMENT TOLLGATE IN the wake of the cov- ered wagons that passed westward through Vir- My | ie ~~ ie kh an Bacar / “ eee QR pes oP Pemtre tehte torn ot hort Wi ry ¥ be ae ar . A SS P \ 7 Ly K JN, “4 y YI ; An te ty ny A fa 4 a f rs ~ eat TRO ti 2 Sats Se ek) ee, is f - 4 4 $id Soh , Ir Fp , r; r « ae a VFX Ti 4 aaa giniaand Pennsylvania and western New York came the turnpike. Tollhouses of simple vRe x PF ee hal CL, a KE fe ire CPR elu nee Bere SES Ten ht wale beni etb ovate Sits] >. hh trary SRS TA} ey Toca > a) but durable construc- tion were built along them. The octagonal Cee, eT eS Te Bon pote) Aca e een) = ty ya SS reign aaa Be ne ee a oS on . 4 plan indicates a date in the early years of the nineteenth century. IFS tae eta eta 7) ih 40} Ss t = Se co . Fd pte Mert ae tare Ly 318 ~ Re ete tit res uf ae A FRONTIER FORT Campus Martius, at Mari- etta, Ohio, was built between 1788 and 1789. It was a carefully planned and well built fort, with dwelling houses within the walls, con- fy yao ya ol Mit ’ ad eo | ~_* Ck eee Th] a! od a Af structed of timber four inches 4 Be ie Pee] "s 8 * thick, ~ nicely squared and dovetailed.” It comprised also carefully planned bas- a tions and stockades outside. From a little distance it re- rnin; a 2 eb ead Ft ye 2S SS sembled “one of the military palaces or castles of the feudal ages.” Ton Are Nr a te et ee bets, : ed ee - rf . r * . . J oTeit> ve Se? ie. eo Pet ke ee) de ry gee) 5 5 "oa Q - a Td 4 S270 tec Sh e5 te Te er ee ee ee ee ee ety a i *] snes Ny ey eg hTETS AAT as bs oe ees alas ! ’ =< . 3) sheet, to accommodate himself and London, 1821 was but one room, divided by a another gentleman with his wife, child, and nurse. Shelter and warmth were furnished; what more could Oe Mann... BAN ey Cd | ry £ ys AP hay fi . «* . Dae . Jey > as os ae Pen YA: 7) 8 Supe A i mia "ef Hy +2 bay oe (* Ve ” 4 fiety ie \ JA ae bee) ¢ r on +s 5Y vie" by one ask in the middle of the wilderness? A TAVERN ON THE OLD CUMBERLAND ROAD, MARYLAND ‘ FurTHER east the taverns along the great roads . = ths ec Ze ADA pr heed : idee : i Te NG a Eig Lay vem ere) §=§=owere large, important affairs, almost hotels. } ne delle L/ This photograph of one on the old Cumberland Road in Maryland shows a stuccoed, masonry ela building with a long porch supported on high square posts of almost the Mount Vernon type. As the traveler proceeded into the less settled. a West, however, such luxurious resting places Sees ie oe enemies as this were soon lett behind. 328 From a photograph by the Department of Roads, Washington aS eS Se a AS : E = 5 4 oe our tle * “ a ores bt oe od te ah na cc PKP RS PP MERE 4 She WERSHAD GIES : aa be 4 Pacer a Saari arr POMP rec rp ey + we ow ~ PRR er abet: Bete Pe be ot “ rar WITraa oe VC Re rr Aa tert Ut ni eerit een tert att ots a a Po) * CIT eee Sy Satan rt ie beh et a a at ERA waa oe FSC rere SEP, ae pete es ot tee Tr ae Pe Sere PARR a m “ eee Sy a zs art 5 rae ey ond ex er) es a 5 eae PES PPR Pm he toed ht wos Poast f | it rs wd Ls PN ee et ee SJ ~ - <2 Ps errs wet 5 A 4 5 a - . # ieee) Gi 4 te! 2 “ine > Saree a mS oe. & F a ve yu "a . ‘i a0 : * : ‘- Se) eae Pe ei a Poe ed ee ld dad bd ed oh at Se ee ek edBed tie te ela Bh et = a . ae “ F fe Cet te be bm a a Tape Yiese peer heel Lh delet el et LES NT o| (2 ont o, ar) a - + er nS a = ~ Be geht dha set hate ol a it ah et tt Parte he Dal nk Ss = = . A hp ee Soe , Pd Behan sett] lab adecd hatha he te btn eta hte eh ta a ee at ee te eee et Se As a Tor Se a = ale ae em a a roan > Sie Speed ~ ce ee am on ta Wms dh nk C Ga ar 4 ie IA = Sh yee SF PF A Ss is a oi x = BP ae VTS DT tent Pee ke te eh or? Pia er Sine er hs Vins Carb le oma at rede atid ok oh oboe ee Ta . ae A aa" Oi at fake Vet . “oS - . = ate ‘ a . « Poa a . x LI ee eis ges Amer A - aie ge ~ actin cee ulate & yea = 7 1, . oe Me! J, ea ca | ie an am ) Pa oe Lae i. t; ee Z ay = | ee 5, a ri Fe FS Ce i 4 ie iF i ie H by Fi ae — = a 5 = ee ~ « | | A 144 THE PAGEANT OF AMERICA ie) ae Leg ~ LL Ss 329 A First-Class Hotel on the Plains in 1867, from a wood 330 A First-Class Hotel on the Plains in 1869, ae a wood engraving after a sketch by A. R. Waud engraving after a sketch by A. R. Waud INFLUENCE OF THE RAILROAD ON BUILDING ConpiTIons further west on the plains kept alive the primitive type of tavern another forty years, until the railroad was finally built. The “First-Class Hotel on the Plains”’ in 1867, before the railroad, is a crude log affair; the other two years later, a big wooden building in the full glory of Victorian fashion, reveals the effect of railroad development. ia vi ' a aa gai \ foc as cal : cal LEX ues LE ee Vi - [CVESE Po) biel es he J COOCLAIYS. VS PASE. — a ay SgaLOSS re , aaars Ae : =(lln eae IRE On aly — eet i E Him g =? re 331 From Henry Howe, Historical Collections of Ohio, Cincinnati, 1847 COLUMBUS, OHIO, 1846 In Howe’s view of Columbus the state house is of the square, New England courthouse type, with hipped roof and central cupola. It was soon to be replaced by a Greek Revival building in stone. Across the street rises the five-story Neil House, and beyond is a vista of the uninteresting flat-roofed buildings of a highly developed city of the period. VIEW OF TIFFIN, OHIO, IN 1846 TuEsE Ohio towns reached their first blooming at a time when the Greek Revival was at its height; and its impress is strong in Howe’s view of Tiffin, with its colonnaded portico, its cupola, and houses beyond with arched doorways that are precisely like those built a little earlier along the Atlantic coast from Maine to the Carolinas. 332 From Henry Howe, Historical Collections of Ohio, Clnocinnati, 18471. Rie} Ciera Spe x os; SPREE ED CEP On NU Tiaill “ ” ete FESR EERO rr DECC PCOS ENS REP Per erect Tier ht erty =e PUBLIC SQUARE, NEWARK, OHIO, IN 1846 pS oy At tt | se 4 a . 3 D 3 . : I ge Hebe . Pilar gs ssl Tue broad square SE a BAM P Rt Bla ex cg bizdibegeeyd agen " Q + a a a ps iF O Ri cit < —< a ae RAG anes ra arp eh aE Ee ROL AROS Ee abe J : ] 2 ‘ ; a = ¥ ies n i in this view 1S Epa Cet ee dominated by a Greek Revival Town A OA al ca == H: ll: 333 From Henry Howe, Historical Collections of Ohio, Cincinnati, 1847 All, et Sac = Ti ee te <5 eeu Gd Ty Pore ye Sapte SPIN ee aie el Ci ot Deri) or County the buildings around show anything but a “frontier’’ feeling; and only the bare and treeless expanse of the square shows the newness of the town. Like so many towns of early Ohio, it has a strangely ““New England” appearance. Howe’s sketch was done in 1846. PUBLIC SQUARE, HAMILTON, OHIO Tue white columns and cupola of the Hamilton Courthouse, sketched by Henry Howe in 1846, recall the grace of New =| England commons; so quickly GR) did the crude log cabin of one ie ot Nas easvrn EAS Cs * 4] ht ewe Ne! Ne ke ee ety i ed ‘ >) == |— Sot an See’ SSsle= rai Fat pak , é ; Ke re) a ee generation yield in the next to oh a | ~~ * =$ ——— v om thy 4 WIS eer ae NT : — ji - - x PRO Nha Gea ea ee - the creation of the remembered 334 From Henry Howe, Historical Collections of Ohto, Cincinnati, 1847 and traditional eastern forms. ois t 5 i és iM if eI A a a e wu is 3 a a af Cy a Sy re - sh «me SLAB HALL, OBERLIN COLLEGE, _ EEE Ee OHIO LEE SEI I po oO CUTS Wiru the advance of civilization came educa- a ] tion; schools and acade- — —. ees at - wt TY Src w Syn digs i Ga>, Sra a fm Oe A = AS ed ive ele a ce fears EOE hi ae _ mies and even colleges |<; SNe i . : ‘K FANS Cntr Soc Passe eS Ta were established almost | SSH : 3 ! priest eG Ge 1 bal tea in the forest itself. Ober- — [x24& seat ; ~ ; PRTG f lin College began ina slab Bee : ! ines iti hall in 1834; but twelve ox years later it had five Pd ea Pa te Pat Pe Seb Pe ee EE a ad >) *e oI pr a v es —! peu. —_ te ‘ SS well-built masonr y 335 From Henry Howe, Historical Collections of Ohio, Cincinnati, 1847 buildings. rr | = * 7 ft Z [ . . Cw ig . 4 Pia ee PU SE Se FS. FY CP ie dl dd THE COTTAGE OF AN OHIO IMMIGRANT Onto was a center for other immi- gration than that from New Eng- land: Germans and Swiss came, invited by its hospitable fertility. Of this view, 1846, Howe says “‘it shows the mud cottage of a Ger- al o- * “3 Bt By RSS at ih Sal ak ; ee Te 70 c “sy ae ee ee ee ee be” Fae a a PP ee gad eT) La a a oe Ty . 7 r man Swiss emigrant, now standing in the neighborhood of others of like character, in the northwestern part of the country”? [Colum- biana]. Evidently its half-timber and chalet-like roof were not unique, but merely examples of a Fate a oy fotJ aay ” Pe Pee ee ee nd Sy Pe TS Ped " a ae RO ea a PK : i 336 From Henry Howe, Historical Collections of Ohto, Cineinnatl, 1847 a J type once fairly common. ese tee 1 i a od rae Peto hs, | 146 THE PAGEANT OF AMERICA Ribed rok er ete tt ba) hte ee Pe gra PP ae nmi “ a AE oc Sim tate i Fe a a THE COUNTY SPE Ne Ser ae CITY RR oe reas ELECTION (MISSOURI, ABOUT 1840) Missouri, owing to its bE ced ae See be bot Leh eee le eed a favorable position on the beer bbe tLe : ay a Mississippi, was, like - Ts we ter ry ha - : ‘ o 3. 5 P a ni ae 7 a 4 a Ohio, settled early and A 7 *. he had early lost its frontier quality. The County Election b y George Caleb a i 4 . - a t Pos _ | A ae ee — Me EN ee oa BE ) 5 guume Bingham shows a typi- 0 see EO erty is ae Ra ) Lid | en ae M4 pS) nash cal Missouri street of the ay - ~ at b Whee Seeeict ded leclleda techie ate cieiea tend lil oor od Ld el oe ed che tras = Ot he So cS = . ee 5 i ry ‘forties: the courthouse porch, with its square plers, is of the Greek elt het ba) bg hi ah eld e s . Ss Revival type, and the : ae eee 9 - mpeg ears ouses dow street in a He S ee Seid See < OT De ie pg aeer, ipa Oh: a han hy ns Pa iS ety ee Cee Sek Vi) + h lL lo nh the t e = ere «en a Fat a re fet a 7. ~{ ae. ¥ ie et SS ~ — the background are those 337 From the ainting by George Caleb Bingham (1811-79) in the Nrertantile Library, St. Louis A ed etted heh of a developed town. Rd tee lke he — = THE FIRST DWELLING IN CHICAGO THE beginnings of Chicago were of the humblest. Around the site of Fort Dearborn a tiny village , and by 1870 — oc grew up, was made a town in 183 a space of only 37 years — had over 300,000 in- habitants. Out of such log cabins as the Kinsie house, the first dwelling in Chicago, grew the second city of the United States. The view shows this house as it stood about 1820. CHICAGO IN 1832 ANOTHER old lithograph shows part of the village (South Water Street) in 1832: a log tavern, a few log houses — that is all. But the situation of the | cS i? Li L ie . ry ae a) Bj oor #: are ae - fy L ae He a Pee Bi +e Ag Gi’. Far re Ey FI ed H t: ; q if 1 i, : ; & i Ci A Fi oe city made it the natural outlet, via the Great Lakes, ih Nye 3 . ; nh : e 335 y t 9 %. fc i D for all the fertile west country, and its growth from $38 Sear seer eek petford in the ° . elue . H. R. Schoolcraft, about 1820 isolated trading center to thriving town was rapid. 7 ( bid Ate oe sy ¥ Rg SUNY, a ws a mries - = Ls Tp Psy ey PAT se ‘ - {? he Co p * ion Slew 339. From a lithograph in the Cc ‘hic ago Historical Society, after a Gontom Doran sketch by George Davis ss “5 ee “Rae fee ees arta aa i her Dar eho la beta han Nomen ade ete bate cae hands acl ton Lote che ner hha eae ee hr ae = : > 2 to fs ~~ : hy &PIONEERING AND THE GREAT EXPANSION 14.7 340 From a drawing by Justin Herriott, in the Chicago Historical Society, for W. H. Gale, Pioneers’ Tales and Pictures of Chicago THE LEVEE, CHICAGO, 1833 By 1833 the village of Chicago had grown to be an important trading center, and log construction had begun to yield to frame. The drawing of the levee at this period shows at the right an example of a new type that was destined to spread itself like an evil pest through the later Far West — the building with its gable end towards the street hid den by a flat-topped false extension of the front wall, to help give it, one supposes, a “‘citified”’ look. A KANSAS SOD HOUSE THE early settlers on the great plains found little lumber, and log houses were usually out of the question. The sod house took its place — part cave, part hut built of tough prairie sods. Primi- tive in the extreme, it yet furnished shelter, and could be made a true, if temporary, home. This is an early sod house in the Swedish part of Kansas — Lindsborg — and dates from the late eighteen sixties. ee eel 341 rome a, photog raph, courtesy of Rev. Alfred Bergin, Lindsborg, Kansas INSIDE A “DUGOUT,”’ KANSAS, ABOUT 1870 A uitTLE later the “dugout” took the place of the sod house. Still half cave, as a protection against the terrific Kansas gales and tornadoes, a wooden super-structure replaced sod for the por- tion above ground. The interior of such et ae! Se) fee §=6a “dugout” shows rough stone walls, un- ‘(= Apektes RAS lye ir A ase ‘me = plastered, a folding table, rude stools and cupboard shelves. This was the bare and primitive environment in which lived hundreds of the hard working farmer families who opened up the great grain country of the West. 342 From a photograph, courtesy of Rev. Alfred Bergin, Lindsborg, Kansas > 2 Tas. a =F | eye” ao PO ie eRe see ot on . 5 = ony Te SP pete eto Se 5x5 TED PEHRESE SER YES errr rr tre ie thine tr Ltr parr ty aera be Bs bee tae 3 ~ AS ta ee PT beta er ih aia Rt ada toh ot Py ke A a ee - si * = Dy ms USED TOF Tt) a bey ee re A yas Pee oe rN ok oh _ Pay ary ; ro ToL f A) a, SN Te ae ric Tn Fe. . = Ant dd de ri eo : SK a Fs s A 4 ‘a Bt PY i rel ed a oF ee SECS Sse Fess * SO Om oe 2 ee EV Ts Pe ey - waa. Jo eo -- vbw eo Se ree, Gu” - * pi kare ae Oe) are TO Pr ate ite ie re at Sa ex a ree ae CE Te PL rf Se "i IS, ea ee od ’ io i. eure a ey Hae ES ye a el hed ee pay at at pion) a oT a Wprs es a ri, aS ae 2 : ~ . as 148 THE PAGEANT OF AMERICA i: HN ig i at at i : Pe: ie aE Fs i: Lees i ee e i i eon i ae ae ate s : or oe McPHERSON, KANSAS be ie A view of McPherson, Kansas, | Sieg re ° — 5 - . ey in 1873 shows the full glory of the t ie pioneering town —a street lined |2a3 Soak ie = TATE AY a with ambitious false fronts. ine a ( ee a ; Se IPRS VANE Dh se Spe SE A = s SETTLEMENT IN THE ese Se ST Se Soe == Se + i T T cx =f - > ‘ ae timber gabled houses, crude and cheap and close packed, and behind the crowding forest of Douglas firs. Lon i is i He NAUVOO, ILLINOIS [ae : be By the middle of the century we! s ss e most of the Middle West had ra . a 7 at lost its frontier quality. Only at *| occasional log cabins, like that io aaicarwenes < lmrowaes h yt wresmowtd in the foreground, gave evi- Ae Rig gyre, WEES: pa UAL ey ae : sek a jie PT elt oe m@ dence of earlier conditions; fr ei para es ae ere a seleereas) : % thickly-built towns were de- ct TP ate re He e NO hte ded y 5 ‘ é i Pi 7 SARS et § veloping everywhere with mush- a ee yee, ON ae ae ae M2 =room rapidity. Nauvoo, seen wy eis, ) fae ite ie AS ae oe aN ‘ . . . . bl aR TR ah RA at a a mM 8 =from across the MiuAssissipp1 4 RA ey isha), na ! es. a “yar chnura c y - wh an enh Pints prt River, shows such a town, dom re Sao ae inated by the great Mormon Me aes Temple. Nauvoo was an im- I portant place in the Mormon F migration, prior to the depar- i See he SIRO eat SIS Ha See tah Ss MA ture for Utah in 1847-1848. is 345 From Herrmann J. Meyer, Universorum, New York, 1851 ty, Bs: pe Be! mi Ot = . « : = teaoP * . ae gS Ss \ ~ Pet orb teh ar OD te ba | wee \e/ a oo = Zz Co es) mx — ‘Zz, C) Ze = ww” hs — — CZ oe — re S yA a ees Zz, (2 aon © a 149 gr PACT oe Cy treats Rote et ta os s Geter eE acest aT ett veh n ee oe er: ‘ora ry endanning: <3 ; “a $44 Pedlle oy fo? Nips eT : i POS gee 1] ; , ! ; 7 ¢ ‘1 Ths peg Jjetes TT. ey ot teh feof og « Ty eee te Gabe boosie a - we Pe a Lt ~ ‘ ret AT Pea Let § ase —T be Peete Tha 2) ee Satie aN ae ta ST. LOUIS, ABOUT 1849 | 4 s 7 : Aa Ree a A virnw of St. Louis about 1849 eee a reveals the urban quality it had eae eo already gained. Steamboat traffic cae ) By * “,* . . bt Pee RSA? - - A} made its position important and its SR eth 4 _ see = GEN 8 Sree ; crowded roofs, its many church towers, paatteectirrssn aE rere i eaete ; ae cise) oa 2) cone eect beens nado ONTOS SS ‘y and the dome of its Greek Revival [=> 8 S5 5" =.= Seon een ge alta ee eB Courthouse show a city of size and [-MEG@L ce-teope E ae (es res St m ) PROS AS Loe ne Saar “e Vee I re Fan i —— cs 4 ae | ° Wh ec ed ry EA EE” Gent Lok oe ; importance. (meas eee | Een ae. : 5 BBS tas TY saat. 1S Ht eMiee Miayeek at : a 4 H a rs a vw oe ie i a SAN FRANCISCO, CALIFORNIA rm ° len years from the time of the gold ad ied Dy OSE al) te | 7 ae <7 ie : : EKG my Uk Sega? se or 3 rush San Francisco was transformed pRB saRee ieee tig ortega eieCiaee ecstatic ren a ae | into a thriving city Its incom- 347 From Herrmann J. Meyer, Unitversorum, New York, 1851 * . LJ dl AS ee Ply Pa parable harbor made that development inevitable, but the very rapidity of its growth kept it uncouth and prevented its achieving the finished urbanity of cities farther east, or the quiet dignity of the early Ohio as al als aide co aint lec towns. ‘ Sa VAR AMA YAP ‘a Ry eas . s ey | ad Se nu ~ sir - Vl ad JEFFERSON CITY, MISSOURI THE new states soon expressed their pride a - - - in the importance they had so swiftly gained in state houses or capitols — which - i! PS a ee es ye Taio Pets ow eh te We mS 4 Pv were often in their monumental grandeur a eer as ie oe Sy so far ahead of their surroundings as to wee appear almost humorously inconsistent. eo Pe tel Yet they were sincere expressions of an ad ws hoe 38 ri ee Te ts American respect for law and government that was manifested even on the frontier re o * and of a mighty faith in the abounding ihe a ots promise of the future. Such was this capitol at Jefferson City, crowning the os river banks. =. MSS Say eye ys cee Lt ee de ol Pr rt Ges sa I te Neh tr PaMeer er Die tet trae ee * ia head Sel) ebetel ee DotA = - ae he eed ol mt beet tte ak > act Le we ie " iy the * * - ra - tidal aaa harried ad doh oe hee a ° a0 5 wr a, at - . a * ms ~~ ee ~ 4s A << 5 Areas Ares a al Ni A Ne eater Rie ree oe a te th et eet Te TPT eee Tee, en er eat be Leh) - . . Petey = nd ~ S C 5 ae ry - = NP 4 . be be a ** ba m sent Fe i Ss aS i Use fe, . ee ‘i — 2 2 7% Pal SS ientl Read Dek heated 9 Pirie hl eth be thee at Bend pith hater balan |i Des eee aN oar on hat Soh totes led end hah hie oem et he satin Nidan th aati eta tient Ne eat oe ee eee 1 Sas ooh a ray 38 a - _, Fe 2 Am he ~ ea ee et a, Nt , * ae tae ¢ ‘ oo SOs eH yes + . a] “ Sr ~ “3 art 5255 See ee eae eee 2) te x eee ere a PY, ea ae ee ee eee ee ey ee arr "Tat Fe 3 ~ 3. Seo nas * SAIS ee gh ae GASP E ISS FS ee . ash pe es i Digs ee Tee ee ee ad ao 4 ioe l i le PO tec ken Cenk st, 152 THE PAGEANT OF AMERICA Pre sere bh t tro . ee eS om Pt i Lay tee - ‘ eee ae Bese? eh) ea a | SRE i ae : fe aay eae | | ! | CHURCH OF THE HOLY TRINITY, BROOKLYN i | | f | In 1856 Lafever published a second book, The Architectural | f | Instructor. It reveals the enormous leap made in twenty | | years; architectural history is sketched with fair correct- ness. But the charm of the Greek Revival is gone. Already the battle of the styles has begun. And already the Gothic Revival — and Gothic at last generally understood — is, in church design, supreme. A comparison of the Gothic of Holy Trinity Church, Brooklyn, with No. 313, designed by the same architect twenty years before, shows the difference, due partly perhaps to the work in this country of English architects like Upjohn, the designer of Trinity Church in New York (No. 762). Vo - pee . : . oe a 4 fons Sabena ida hia hei bee ie eh eed beater iL hl otal cel ee Lean] c : 4 et a S ao lil = a) = 4 Fi eo; Can .- s CR ARS 4. ¢ D ht ahd Mae hie Siecle bho L ar) ta a ape ty oe) Me iv . yr ROU MS O ris eee ~ “ re Det a 3 math eee oS meee. a 7 et ony = 1 iy seni a = 349 From Minard Lafever, The Architectural Instructor, fee a To dees ; - cr ae - — ad Nisa tne J ere ys ew York, 1856 iA “ns Sei eae OES hen Uae eS SHERMAN’S HEADQUARTERS, tere wares SAVANNAH, GEORGIA a MEANWHILE the country was filling with build- ings whose Gothic Revival forms superseded the Greek Revival. The house used as Sherman’s headquarters in Savannah (No. Battlements, oriels, and a — . Sy sep ierech Fry Ee ogee '% i : a? : 350 © Detroit Publishing Co. With the Gothic Revival began the use of cast-iron as a building material. 350) shows how purely a matter of superficial detail this Gothic Revival sometimes was. cast-iron porch and piazza of generally Gothic detail are used on a house whose simple rectangularity and Here the mixture is so frank as to produce a symmetry are indicative of classic rather than Gothic ideas. This style confusion is typical of the transitional period in which the house was built — a transition from the classic culture of the eighteenth century to the romanticism of ee f ee ie tt pape : he aa ci | ee ) hi Le | gee a4 Ae es Pathe 61-3 si Fin? | Ole 4 oa yet) a ba a i 4 H i Ff ae ep : ey re f 7 ." he Jt i id ere Zz i £ ie j 5 ; g: Hn Ls : A : ‘ rn fr," great deal of charm. ae AS ON Pea a ha ve the Victorian era. THE HERMITAGE, HOHOKUS, NEW JERSEY Tur Hermitage, once owned by the wife of Aaron Burr, shows a much more English type of Gothic Revival house, in which pointed gables, steep roofs, diamond panes, and broken silhouette give some- thing of the romance and informal charm for which the true Gothic Revivalists house design were always seeking. ‘The wavy decoration of the gable end eV a eee a al hala late hth Rene Richie te i als Rate baht ee ad heavy, set s| barge boards is typical of certain exaggera- Rese Si zc tions of Gothic detail to which the early evens + eee yl 4 . . : , revivalist was prone. 351 From a SIGIOETE DL By yah. A, Wilson a LRA Tr em eh ee eg ae ie tes eet te ah a. a _ y NS = Lars - - 5A GOTHIC RESIDENCE AT IRVINGTON, NEW YORK As time went on, the careful Gothic Revival details of the ‘forties and ‘fifties gave way to a freer, more original type — * Thc the true Victorian Gothic of the ‘seventies and ‘eighties. This is a view of the residence of John E. Williams, at Irving- ton, N.Y. The Art Journal said of it: “An old Warwick : ee =e cottage modernized and Ameri- ars ays ats rf TS a is -~ ¢, . : 3 oF SPI ek ae RR Eyes pene = RS Rete ES - 8 “ of Reet pea ole canized, with a mild trace of | Ye Ng Bera te a cit TG a NGO ON PRN Res Cer oP Y xr ha] mandy thrown in.” But variety has brought incoherence, and freedom and originality of detail mean too often only a travesty of Gothic, with vulgarity and flippancy added. THE TYPE KNOWN AS: “ITRALTANZ In the late forties and during the ’fifties another type of house was de- veloping a popularity that rivaled and in many places surpassed that of the Gothic. It was a type known as “‘Italian,’’ wi aM a | though its relationship to » I ‘ Italy seems now very distant. But, based on : soe EC TRI FUE Nn eee LL ideas of the Renaissance, 353 From Minard Lafever, The Architectural Instructor, New York, 1856 however distorted, using round arches instead of pointed, classic columns, and preserving something of the heaviness of the out-of- fashion Greek Revival, its products sometimes had a rather portly, self-conscious, righteous dignity that many “Gothic cottages” of the time lacked. Re \ NI a i P = — Leet. fen phn or AS cs at i? = | PREPECEC EPS Chee ne 1 Pes ee Ee RED Pree eee fas tl Se he ES “ee eee t vs | 7 TT oa Ln RU Ee - re Cm vr Pee ee t Te OM ao Ta in 5 7 PAS Ae ee Pe ee ON Ue Cree Tt Tee et. PA er Se ey OE i * ia) a b —s a +e nt ii 2 5 no | ie ss SS i i ee et A Oe ee pei SL PYF ee eee eee = ae ae vat Ei SF FS Pe de 2k ~ Peery eve | ee 5 0D ~ ee er rr ~. - 7 od STs arr) ~# ro . +: al ' “4 S Sryeaa ee Pee Terr tM ats le " af et osy+c Pte cy ca ay “ sine fF re y * 7 A i397 ey . ee toes Dg ee Pee) De ee a2 cS a - ” Sawif a fh i oe Be 154 THE PAGEANT OF AMERICA Be ry a Y NAT TO 5 1 A. ‘ N ne THE OGDEN RESIDENCE, CHICAGO bi Tue Ogden residence in Chicago (No. 355), dating probably fo from the ’sixties, shows another step in the decline. Frame takes pa e * a - a the place of stone, jig-saw brackets and piazza posts of fantastic S = ee ie shape replace the simpler classicism of the Groesbeck house. ee 4 The roof cresting is more elaborate, and placed on a cornice at | Fe —* + R a + . ig el | bee the break of the mansard that projects unpleasantly. The ae me P) : . . * . . e : & aN - classic modillion cornice is replaced by one with larger, formless +. | Me brackets. Mere elaboration is beginning to be considered a b ee ed means to beauty. a mipalil, Aa \ re Pe mn APPT Ta ariaiieiphoetdeit-Msnrsdsats webaa “a “" ie LAE : bY if ROR i i Pane fy : I ae aaa 11H 0 sun Re es ae i 5 | hae r bt | H , ey H Hr hy , tr : Le b a a ad F db ie : i nt sl TM aay BY Pause es rf F wih NE errr eee id hail Ne , . ble ws ae " ti ' : ‘ 4 j r ! : Jan fh fs eee ea } = ? “ ‘ ae ei fox 4 “rr i Ton 5; FI ; , + ag oe i fi % tee h 355 Courtesy of the Chicago Historical Society My pe i AA 6 THE JEWELL RESIDENCE, pers . ae mm ~ T Ar ~ py AveL a HARTFORD, CONNECTICUT a : Ha; Tur most successful houses built under /@ayiy a ¥ hae ie . > 7 PY Sa : ae this type of influence were undoubtedly [iy . ° . pl G those square, wide-corniced, flat-roofed iS 5 . ae io i brick houses (No. 356), with cupolas, of ag Se . . alte 2. ik which so many line the shaded streets of ii f “a: . 356 From a photograph by H. G. Di fe: eastern towns and cities. They have a ~™ peor echt clei Ee a sort of quiet dignity, a capaciousness of windows, cornice, porch, wall surface, cupola, that has at least the ies virtue of consistency. In such buildings the inspiration is almost always primarily classic. te ea | 1 4 H _ aa —— — = ae it THE NATIONAL ie : SOLDIERS’ HOME, i eyes i WASHINGTON h f . ee Tue Library of the br. f ~ ° > : cp Soldiers’ Home in es y e . Ne Washington, built ot aie : - ; ae 1851, shows Victorian fs a f Gothie in wood at its i, (i worst. Roof slate laid ie . . ie in patterns, meaning- be less turrets and pinna- F ** ie cles, jig-saw brackets, ge = Hi and sharp gables filled g! i : ae Binal ei with meaningless braces, te a Hil | On RS | 4 2 4 3 & at EE COR _ show all of that rest- re . ; a ~ ‘ « o e ee pel Kea MET | H} name of “‘carpenter Re: te ‘ ° 5 f, i | ACEO ee eee Gothic.” oe tik 357 From a photograph by Soule a a ae een Be ore pe SiegeCIVIL WAR STAGNATION — THE VICTORIAN ERA 5 THE ISAAC MARTIN HOUSE. FORT WASHINGTON THe Gothic Revival had confused results. Typical of many of its better qualities is this old house at Fort Washington, New York. Its porch, its gables, the moldings over its windows are quite correctly in the English Gothic spirit, but the finials on the gable tops reveal that underlying restlessness of taste that so frequently hurts the best work of the period. THE HOUSE-PLAN BOOK THE decade following the Civil War brought an irresistible demand for expansion. Speculation, wild- cat schemes, sudden wealth, panics, destroyed the s A> | ty Pp ; + . \ | . =>. J ee 4 ‘ ad ee aS 2. (4 ow La Nee a Praia es 358 From a photograph in the New York Historical Society economic, artistic, and social traditions which the war had undermined. It was an era of vast building. It was a “boom” time for the distribution of house-plan books sold by ‘“‘architects.’’ The aboro cut representa 4 Deosign Patented by C. Graham & Son, ARCHITECTS OF ELIZABETH, N. J, which may be applied to French roofs of any size or description, forming a great and acknowledged improve- ment in the ornamentation of French roofs—destroying ths monotony of continuous lating, and presenting to the eye a beautiful, bold, and characteristic feature—particularly adapted for fronts of amaller cottages, as represented in cut DESIGNS FURNISHED embodying said Patent in various designs. Also plans, specifications and working drawings for the eame. Also the nght to use said Patent designs on application to C. GRAHAM & SON, ARCHITHOTS, ELIZABETH, N. J. | 359 From'!M. F. Cummings, Afodern American Architecture, New York, 1867 A TYPICAL DESIGN FOR AN “ELEGANT AND PICTURESQUE VILLA” Tue book of designs published in 1875 by G. B. Croft is a monument so full of typical material that the choice of an example (No. 360) for reproduction was difficult. The designer’s object seems to have been to get the greatest possible number of different kinds of The plans usually com- bined all the worst elements of ‘“‘Italian’’ and “Gothic” and “‘Queen Anne,” all flavored with a sauce of peculiarly ugly ideas developed from the heavier types of French Louis XIV work. The whole seems to us utterly tasteless; it certainly was, as this advertisement from a plan book shows, utterly commercial. 4 ‘ shite Muff af (oy lhe i fan elegant and ricluresque \VMla prem vd for execullen of 2 leh. huff al Saralepa Lake I j f The Syadews. are inhense and he effect very’ striaing Aintcnarr TANG From G. B. Croff, Progressive American Architecture, New York, 1875 360 windows, to use the most varied possible Jig-saw detail to frame windows or doors, and elsewhere to break every consistency and continuity of style or composition or line. Ostentatious and arrogant ugliness is the only possible result. > ELT CRP ES EVEP REDE Win Piette je rot Tov ii Nr P Er Cre Ut Ltt hater ene AS ea erh ace ert nL Gi a = Sia ane Teed ay eee eT PORN ae aR A bin PTeF pie S Ee ey uJ {een dit 6 oa ToT. i) ae, Ue Bore ee ak tr eee Tt a - > * a a) oy a of So yay ST yet So Se oe Sy . oy a a ay ee AT ate MO a eae Fe OT Pad Med Card ) at pe = “ Pry <2 So 52 $y ria Sa te oe ee PS he edd 5.) Ps ' oes Pere ety a a = os ad “Pa * ann * 5 ep 5e5 Su5 re ee a ae ae a tested te So eh es ete -* a id a bo ee ee ee = . ar, - rir Py a y ca 3 Se. fads e*) aS et aoc ey O ES ae eT A a oe Se) Pe rt oe eee -' f THE PAGEANT OF AMERICA Cal sa yrar dh en Five teed eT et A ty " ae = tye ick tert LN Th 1 ~~ ‘ ea Raa el A kt) ae GOTHIC CHURCHES AT BATH, MAINE THESE two churches (No. 361, and No. 362), both in Bath, Me., reflect perfectly the changes which historic and revival styles suffered at the hands of local builders. The first, the Gothic example, shows the use of vertical strips to cover joints in the vertical boarding of the wooden church wall—a typical “carpenter Gothic” trick. In mass the whole is strong and well-proportioned, but it reveals how futile it is to attempt to produce Gothic effect by the use of a little tracery and a few pointed arches. The other church with its smoothly boarded front, ee ee ; : oa 7 “— > | “Py oe “ ‘ bon : é \ — f " * a’ il _— i * ~ ~ -_ — ~ - ni erty tat > Tm Yt fe wat aS ay * od ee ey en “ae a 5 wai xi: 4. ae eS ae , Pd . th 4 \ > - ~ ae : nea eens > its Gothic pinnacles crowning a nondescript whole, is evidently an attempt to be Romanesque. But it is all indescribably false. Both, with their absolute denial of the material in which they are built, contra- dict utterly the spirit of the styles they supposedly Lm oan eine’ sacs ene alliiiecmeinl 2 Ae ONS ™ < — . a PS bleh wilh hh aelel en oneet be oY tea ty it a the at at ep! hem} Le ee ee eee ~] = vr ot Maloy os - ts PC et eat eer Cer bla he eta teeth ed ol bolt te TT tale ral Tee Tee] = y Pais . Ga ; - ba sh A, 2 ons PRR = 70 hae P - wat a rep resent. ‘i ae ame eee Ts s —- se - ry ar aa Fy pe Pope > = eng hp 4 Kop eres N be 7 ‘ ? a 1 wy. . “ . 5s \ Ku tee ee ea 4 ‘ t Aye ame 8 ' : — ~~? ¥ ne.” a -_ © ™ y . “fe ‘ 4 a ry ~ ete, of, ee * he . a ay Stes: 4 —> — Pate dnd YS le S og PAS nT) as ke = _ — — G =, \ + = % + as * a. " ~~. ‘ , “3 : 3 a - ae be . ™ A -s f “ - Le 4 a - J P- sy bh - al - ie ae) ni a 7 . ~£ . > De® a + a eet ere ET = - , eel oa = — ae TAD - . “ et x re ¥ , ~ _ at a _— i " = - id ale E 3 Sees (> ae CIPI. co eee ty = ae Gy : Lag yore Te * ».* . Sh ne Sele Wee. i e ae } ‘ r 5 (= re a re _ ie MEX beer 7 cy lS ees ‘ Po a+ rs Ps s acetate ten Rah re Wad tek Veet ee Seed eee et, 5 ‘< ace a Sst oh Ria ea i vals CaN Oar ad ed eat kd ent ey ACh ae - tr * sad “ . aie ar : ~ > 4 ~ baleen it Sh leh eth alae ~ | eee From a photograph by Perry L. Thompson © + o> | bo “AN IDEAL HOUSE” In 1879 The Art Journal published a so-called ~ ideal house.” The terrific ostentation and restlessness of the jig-saw houses of the plan books has passed. But the taste still lingers in the unnecessary banding and paneling, the use of curved-bottom shingles, and the observatory tower. But large panes have given place to small (some, it is to be feared, of stained glass), =P en ay oe Pie heat ean bat aha ahead eran en - od ee = “ Pa eh x Fe . ir and the mansard roof with its metal cresting 1s no more. The detail is ‘original,’ but based more on the contemporary English “Eastlake” style than Eran say Ter ae fe CANE AMO ee a FUrtken AN) (TENA ee xi}— _—__— ; t Eadie th ot hae ee oe ed oe eo - 4 "2 5 Le ee ota) Hy a A eee Soc aria a ~ Sint Create Sts la leather a a ee Ce tal nd 5 - Ran Sk ae hy ot hg ¢ ihe Re ia A> < eg ood a yu Se « a - . ~ 7 > Po (10 ae ea " 4 Pi A m 7 an iar , l r - rm 4S. = (EIT ean PT TEFEN BRET Ne i oad Fe Gs Cee eo = ~ ent ih St eee oth rt? Lite a = 363 From The Art Journal, New York, 1879 anything else. New men of wealth were appearing in America as industrial development after the Civil War made swift progress. Many of them lived in such ‘“‘ideal’’ houses.Ye Rae -~¥ ¢ — yet ty > fe aS 2 ry r ee DE ¥ i SEE PCED TP SUE tay 7 ts aa CIVIL WAR STAGNATION — THE VICTORIAN ERA 157 ar RPE CrCrie Titrtr pot n rari CHATHAM STREET, a NEW YORK, 1858 As yet the city develop- " | ment, even on important = oe S Kerrey thoroughfares, was ill Ae ya COTS aes thought out, and badly de- are 3 - apt ‘ -~* + signed. Party walls plas- [g@% Het . ee ° Cia tered with advertising signs GEC SBPECS: Sexy te nara DB) a peter cas ; em To init cas « Te ms Peed jt rr, Ft, \ tee show the higher, uglier new Lae - as Cy Loree fe “Sr } Sas F a) ae ae ee aes | oS 7 le ae ee Pi Py) Sse Ate ra see ea Riper ay ot rye “ES Cn e a os ee ae Ss a7 . SS Sa5e 50 HY SEY oe Ph Po) et Pad da = vere | 3 HG . mie T feos pins tes ie) hin LA ye, See q eee 5) rs Ae ted Saad Sa ed oe Pes Bde es yy Th ted 365 From a drawing by J J. P. Nowell!” peers of the New York Historical Society - > as THE POPULARIZATION OF “ART” ll FORMS 2 Forms fashionable in the big centers were soon Sarr Err peed . - » OS Be ee yy <5 5 eT 5s See aes ee To ae th el a broadcast over the country by means of plan books and books on architecture. This is a plate of details I from such a book, published in 1875. Bracket, Pa lintel, and arch forms appear in every possible combination with. panels, scrolls and turned mem-_ |*** a OR HIG ee ag bat oF vd - S285 799% REY Ce ge Lee bers; all covered with a decoration of incised lines, at eeeeeeenl foe f » . r , : ; ~ ‘ec . Nos 1,10 1y ore Newels Nos it.to 20 ore Bolusters Nos 21 fo 23 ore Window Cornices for \Waniees ving often gilt. Walnut was the favorite wood. So “art : Nos 24.10 2g 1 : ore sections f Hund rail All of which ore atremely rich and ufirucnye, bul nod capengave nase ae Pseculed in Walnut with eugroved lines laid in gilt Corniees may be enlarged fo fil any widih ef opening was popularized, and ugliness made universal. ai naan asl CIGICROIFEARCHIYELT/ SARATUCATIAGY 366 From G. B. Croff, Progressive American Archttecture, New York, 1875 er eal re ryrt oe Dia ete Pe el oa RSs eet Oe tea ih sane tict -158 THE PAGEANT OF AMERICA TYPICAL EXAMPLES OF PORCHES | 1) Ze ae IN NEW YORK OF THE 1870's \| SS AN article in The Art Journal for 1876, Pea by [SS ae. een Fae ee D. Appleton & Company, on “Some Examples of the i =e a Ree ee Porch in New York” shows a number of illustrations of porches of the brownstone and Victorian Gothic periods. The four selected are typical. The first (No. 367) shows the true brownstone “Italian” stoop that was fashionable for almost twenty years — Cor- inthian columns (probably cased in wire netting to keep |: birds away and incidentally utterly destroying the con- figsea ; ol Ls rat tour and effect) and leading up to them brownstone steps with | balustrades ss often made we b = EPSe ¢ Ae roe Ayre = from cast-iron painted and sprinkled with at? x ) ’ . =n yah sand to imi- SSS Biers) 367 From The Art Journal, New York, 1876 ut tate stone. Yi The second (No. 368) shows +) ** + >> wie the more “‘modernized’’ type A ay , : : : ee eae fe | of classic due to the influence aT a of the French Néo-Grec. Great LN brackets take the place of an entablature, treated more like wood than stone, and _ the newels of the stair railings have undergone that enlargement and complication which has eo rac roa ae | loaded so many American side | "1 aS ” Zi Kae 368 From The Art Journal, New York, 1876 streets with bulging obesities. < The third (No. 369), the porch of the Dry Dock Savings Bank, 1s a two- story porch of a type of rather flat Gothic — based mostly on Italian prece- ey os gS aa ~ Hl 1 dent — much admired in the ’seventies. In this Gothic work red and white bs» ees stones were combined, flat 5 “ acs) 9> as rs edge ‘arving takes the place of moldings, and all sorts of lit- tle splays and chamfers are used at corners. Itwas this type ol Victorian Gothic which was responsible for much of the worst public, commercial, and ecclesias- | 2ik@og iH : oe tic art of the period. . = —¥ > The fourth (No. 370), eo Nie ee | the porch of the Church 369 From The Art Journal, New York, 1876 of the Heavenly Rest — now rather fortunately removed — is still another type of Victorian Gothic in which alternate stones of red and white and columns of polished red granite give the color. The combination of gable coping and arch stones and the cut lintels at the sides resting on fat capitals and fat brackets are examples of attempted originality which seem to us disastrous. 370 From The Art Journal, New York, 1876i » wey | ax 4s rh ‘ >.) Sor thes wea AGeA < I Ce OPP EP PE ter te Thirty ttn tr CIVIL WAR STAGNATION — THE VICTORIAN ERA 159 9 A HALL AND STAIRWAY OF THE LATE 1870's Even the educated taste of The Art Journal was in 1879 almost as low. The hall and stairway (No. 371) reveal some — ar of the elements seen in Croft’s plate (No. 366). The door trim, with blocks at the corners, the stained glass panes in the A Zsas a zi PO ek hut eaten tots stair window, the strange wainscot, the stair railing with its incised ornament — all reveal the wistful, hopeless striving of a people, their traditions killed by economic changes and immigration, towards a much- sought beauty whose secret they did not know. hee i A et oy = *& ey avn aa Eys it Per tare) ~ NAC oa ROP AN ATTEMPT TO PRODUCE AN EASTLAKE INTERIOR Tue library for the same house (No. 372) shows, in addition to the vases and busts ey ere es pa hoe - a a a ee re wre. s ye hn that decorate it, high **bric-a-brac’’ book- cases, whose strange semi-Gothie design is \ a based on the work of an English designer, Eastlake. His own work, though possess- 1) bY . ‘e a e I nS 4) ing some of the qualities of the lbrary shown, has usually more restraint and Pa yon J o sx ¥ be ts belts oe ee ee ed feet logic. The angularity Sena yer CU at are fy || es es character of the bookcase standards are to be noticed, and on the shelves at the aE So right the miniature curtains that depend , = FRASER eS S== | from them. eA 372 From The Art Jo urnal, New York, 1879 Ck ———_ —_—_—_- SE a _ i ao P| pd THE OLD PUBLIC LEDGER BUILDING, PHILADELPHIA THE ’sixties saw the introduction ” ar 5 ja73 of cast-iron as well as brownstone as a building material. It was seized upon as the great hope of American architecture. Whole ae Pie ees a Pest 39 34 20s pea MP Pt a, Pot Ply cory ee ” ~ fronts of buildings were of cast- i OJ 4 q i. ie = o Ya bt 2 ae x Pe pee TO TT a rt et fe hy ee gad eae) Te oe iron, in sections. Frequently it was used in ways rather French, as here, in the Philadelphia Public Ledger building opened in 1867. Mansard roof, French dormers, Poe at ra ye e~he > Se * "a 2 Iron cresting are characteristic. Allowing almost continuous win- Te ecole. « 73 - dows, cast-iron had its advantages; a and many such buildings, never- theless have not the incoherent IF 9S ae * ugliness of much other work of the time. oa iw d » % all or as a) iyi resst cs ee ten iS istory of Philadelphia, Philadelphia, 1884 Pe a as 373 From Scharf and Westcott, 2 . fe ok * . 5 pw et * aD na 7 tA Die oe Pe et a 5 = ie Cs Cs 4 er els ; Pi , Lape =; » 160 THE PAGEANT OF AMERICA Rite bret e brat iat eo - P uae ee AS | - THE OLD A. T. STEWART BUILDING, BROADWAY, NEW YORK THE old A. T. Stewart store in New York is an even simpler treatment of the cast-iron front. The endless | repetitions to which it gave rise are fatal to any charm. 4 =i Li UJ bea bene bd a orm beatae eared be tata as Pil) 4 bagi Shea te eh Fee | ble! ea] ren es ed eed eh eet od A ™ Co - Ss or a aa ay re . r ] - . Me ae er) ae “ ee a A pm Be Py - - Pa Pa A) ee 374 From a photograph by Wurts Brothers Ato he etree . Cie i ta aT Chi ee . A PHILADELPHIA EXAMPLE OF AMERICAN GOTHIC No cast-iron front could ever achieve the unique strangeness of this work in stone (No. 375), built in 1879. Like so much American Victorian Gothic, the sense of scale is absolutely lacking: what should the foundation of be small is big, and vice versa. Structural logic Gothic — is forgotten. Stumpy polished granite columns; arches, cusped, pointed and segmental; offsets, brackets and meaningless gigantic moldings are piled together in astonishing ways. Such buildings are obvious proofs that the original is not always beautiful. It is tragic that the conscious desire to create beauty, which was vividly alive throughout this era, produced so little that was lovely; and created for so many an environment of such meretricious ugliness. A VICTORIAN j se | MUNICIPAL BUILDING THE city hall of Buffalo, built in the same year as the Centennial Exposi- tion, 1876, shows admirably therather ostentatious gran- deur to which the American public building of the mid- Victorian era as- [xc ser wT 4) ; rot * c oe ua | ~ 7 Or f =) - ‘ j ¢ 7h why A + we — pired. A time that ee eters Bees Ew rn oy Sa SS a Ee = a fa was characterized in 375 From Scharf and Westcott, History of Philadelphia, Philadelphia, 1884 political life by the excessive, overornamented, highfaluting oratory of the General Grant period, necessarily found architectural expression in buildings, such as this, where exterior com- plexity and ostentation governed the design rather than any direct and simple logic of form. High towers were common, and a heavy, ugly picturesqueness was often the result. 376 A. J. Warner, architect; photograph by SouleCIVIL WAR STAGNATION — THE VICTORIAN ERA 161 A VIEW IN CHICAGO ABOUT 1870 A yvirnw of State and Washington Streets in Chicago about 1870 shows the lack of unity, the hit-or-miss character of the typical American city of the period. Flat roots, mansard roofs, gables — “Gothic,” “French,” “Italian,” and plain no- style — are mixed together to give a if Th SALE All a total effect of chaotic confusion ire) | sora tesrt: TL strangely different from the placid unity of the towns of fifty years before. THE CHICAGO COURTHOUSE Tur Chicago Courthouse is a typical “Dark Ages”’ public building, borrowing from the so-called “‘Italian”’ rather than from the Gothic. But the tradition of the cupola on public buildings was so strong that it has a cupola as well; and one, strange to say, with rather a colonial look about it. The use of three arched windows in a close group, the central one larger than the others, is a frequent feature of this type of work. ee, CLE tek GE fA nae toms i Ranh ee ELC Lu ery tne ee be! Z 378 From a lithograph, about 1865, in the Chicago Historical Society a Le RN Se : > ON J x , ar rte = \ pS / f a é DINING ROOM OF THE OLD FIFTH AVENUE HOTEL, NEW YORK Tur Fifth Avenue Hotel was at one time considered the finest hotel in the country. This view of 1859 shows its. dining room, column-bordered, with great gas chandeliers and decorated plaster ceil- ing. The long thin columns might be considered Co- rinthian, but the entabla- ture they support could be ; . B RaeL Ts, nothing but mid-century Se OPA Ae eee ee : From Harper's Weekly, October 1, 1859 American. The combina- tion of curved bracket forms above the columns with little brackets, and the large scale of the ceiling decor , Néo-Grec and purely new forms which characterized work of the fifties and ’sixties. straight lintels between, the cornice with its big and ation — all are characteristic of the blend of classic, Che ‘ atte SKPEFERS siete ttc hbo tT tee ft a errr rr crer i tT hanory ctr t cuit ly os ers Tee iN. CH ir had ete Oh tas eer Wels Looe at hot = G \} We eat ch. Ce ee ee ee ARES Ped hs tna brine aks 7 5 ravi CS ee ee Pe Pee ete | evra Rese pcan a ye. \ a irs) i 5 Ca Re 7 sa ad * ay Le * bs ' ‘ ) 4 hs ir mart + ee Ar et Le Sen] 8 “% a fs od hf a 9 | A r ne » el Sor A 0 oa ade a a Sa ee as pd 5S a 5 Og pr ety = F 5 . - fe Oc Sc ey SE Ps a er ee) ie dd qos J - 7 id —" «2 ome a aaa % =~ Sf oe 30 36 Ue ee oe oS eee? Pe er a ee ee Dl ag 7 BZ a tl Ye 7 go et ee ie ao ge Ae ae we aoe ee) Pa at es ait ~ o- Pepe lt Oe Lae ees eek a i ie emee ae wey Distara ii Uo ite ; ee ee eee . —s rr , as cats maleetabai A cal Mod bios ee bre teed ei eel ble ober ll tek tel ooot er ett in - - pe cue 4 om ~~ s Ps P . A 3 =, oe s - bee bribe Lhe! oH - el eh th EF ested head ited ae - F bs ie ie a ; Ven Or j a . a} a pa ak 4 hg Be a a ¢ tf ' i = eth cn Det Niele Rath nee ee LT oa) . ~ ~ aa 8 a = ; s ty = c 2 ot. a SS A a od . a * get - ee he ee et ee 4 og pa a Citar: ohh oer a ba Nat Sead C8 See ieirmesis —e D we - A Pp A 2 thy et Pie OCA pete ae a a ble Rela ithdien Nee Nida a ed ee a tee ha a Se NG he Re = - 5 AS ed Koi pital hed lel betel e tt dE aa Maso bsl ~ + S 4 162 ; THE PAGEANT OF AMERICA INTERIOR, TEMPLE EMANU-EL, NEW YORK REMARKABLE for its date — it was finished in 1868 — was ‘J’emple Emanu-el, designed by Cyrus Eidlitz. It reveals the beginnings of the oriental taste that was later to sweep the country; and its design shows an imagination, a grasp of scale and composition, and a true feeling for style quite unusual in work of the time. » as : " : a 7 7 : Y ; ™ : = - p “ ” or d y ~ —— LSA : oo oe a % 2 ‘ ‘ . - er - 2k, = = x] : = AL 4 . z 4 te eT) a om 4 a A . ~ > - ; » - eh a = ow ty fae Sic oy Oe ok ee ~O ’ “ = ae - PS, : eS . . - et tp —_ ir AL b a ae —— = 2 b Se — pane s Se IA ; i ‘ — : 3 Ss ~ : . — : SS pL See + A Lai : —. . 3, » adh met O's 0 s a ——— nap nun aamumnmes 7 ee 5 $ ar) ST . —— : A Hts yp vie . " Par at a an} DICE Tok . Not Pr fe Ee ET mood be aaa ro . 3 } aM » . m - e = G BD 2’ ~_ nea}? a ¢ N . . iB . — 4 eed) ‘ Sere! & % a 7. J P —— “ wy 2} t ’ + ' ' IY iy , . 7 . qi Parnes | Fa} 4 | - — a ie ( 1 cif 3 J + 7s > Tie * - > yd = m De ok y f 14 \ S i it eae J J . ir F 5 y f x - ) f TNF -. = e a av ae) Bs aN 4G AA t: -- ‘ : P * 2 J Pee We. 2% aS 4 : ae’ a” i} by ee ‘ Ld a . | ey % bl ’ 2 ‘ 1 > ‘ — q e y Te t a » ot i Soe . « ‘ , ‘7 ‘ i 3 Z - * , s . \ ae ie Meck ¥ “ 4 Pe: oe © 6 \ ; . A ms . J 4 5 si le» . , fi 7 “ ‘\ oa r - " ' ‘, ” i. 5 i : Y a 4 wholly" i ae | ~ Fy te " ne ‘ : : Pe Po x ' : ; a) mS a J “ea? iF eet ek J . ee hs Satie ee Ae, ota eed ve 7 Sed 32. i we 380 From Frank Leslie's Illustrated Newspaper, Oct. 3, 1868 oy boul ” e - ys THE GRAND CENTRAL DEPOT, 1871 Tue Grand Central Station — Dépédt, as it was called then — was opened in 1871. It was famous for its size and monumental character. Built of red brick, stone, and cast-iron, it followed generally “‘ French inspiration, which appeared in the high curved roofs of the corner and central pavilions, in the pavilion dormers, and in the rather stupid classic character of its detail. Despite the smallness of its parts, its lack of compelling scale and distinction, the Grand Central Depot of 1871 was noteworthy for a grasp of big con- ception and monumental planning unusual in its day. Contemporary comment was all superlative praise — a strange indication of the taste of the time. 381 From a photograph by Soule +> Wr rE RSS ee r a GOOSEN Spe SDA (RE TRAIN CONCOURSE, i > es a (=e Sree ; A S \' E50 Ss Neg IRE NNR SOONER GRAND CENTRAL DEPOT NiO BS aa (| AEP THE great concourse for trains was roofed with an enormous arched trussed roof of metal and glass. This type of train concourse, usual at the time and later both here and abroad, had a frank impressiveness that was truly creative. ; With smoke and steam rising into its fi} wes fn IPTG Thal (Wh: LY i 14 Bi = iy a ory Li] ee TEEPE OD) IN SPREE ote MTT 2) dim vault, atmospheric effects were pro- } ‘ duced which were remarkable. But the : difficulties of ventilation, the noise and the smoke, rendered this form at last undesirable, and it is no longer used, UJ | o ie iy: ee hen F 1 ¢ oh et A — +1) j Oo a Ht ce 4 7 ‘ mop bE hes Ce re rs ” hit im * ~~ * 4 ‘ fe Se 382 From Harper's Weekly, Feb. 3, 1872 though many examples still remain.wet | ios a bal A a ee rea Ee DROW SP NO DECREE SESE CVC PES EPECRBDE SPOR EP Er trent Piet tr otra be bute ie bot eh ee CIVIL WAR STAGNATION — THE VICTORIAN ERA 163 os ae ® ——; * Pee Ve; eas ee eS Ea AGT i u » ie ie 1 meena es (ew ar =r Sorry j Oe: Parise: el ee — SOUS a Se a Aged Menon Seni eee tee tbat —-— Gs * + ( os ee oe Ret aise mi i} Pree Gat ot = Se ff E = ee 4 ll RSS Bess LT tema G | t ae a hee . 1 She ae ta! Prefs tpt eT. _— es A Fit peel = ot reseed Se 7 ea % “ yoy Q ry S = . . =F, aa a Sle als . , a \ xant oy ( we heh ~ = env WN “e | | \ 4 ~ YY Naar . iy | eee at 5 WA\ © ‘ Ca PS) =25 a : . ee a t ‘ - ry .\% . f - “ : ; \ 2 bray A S ‘ — ¥ of ™ A \ * y - . wis a s Z eed! - 5 ry a < Awa IY. 2 ; . WS ee cae 4 ‘ - : Ve ‘ AS ’ 4 > , 4 P ry 7 = wy we , : op . erat | iene ee oe Vea oR aR : 4 Pi os \ . 2 : \ a - 4 i ~~ = er <2 4 Se a oN na - tat Coe VIE \ - = os i ay. " ae Ne FF C A Te ak MI s f 2 a ae - vase - eS i - = = ~ 7 7 Le er eae “ ! x g ° : ke ee ™, any a Beat - . —— . < hs : A eto tg Nery Fame ‘ = nS o rrr ~ i See 2 Pop ee r mJ ef = wae ee Nee) ——— — ~~ ai a = PRADA ees 7 we 7s ~ Ps s3> op 6 UL 383 From Frank Leslie's Illustrated Newspaper, Jan. 18, 1868 INTERIOR, PIKE’S OPERA HOUSE, NEW YORK THE mid-century saw the development not only of more complex hotels and railroad stations, but also of large theaters. Pike’s Opera House in New Y ork, still standing, although altered, was the finest of the time. This view of 1868 shows the great rehearsal prior to the public opening. Multiplied galleries on cast-iron columns, the elaboration of the proscenium arch and its boxes, and the very rich ceiling, show the develop- ment; but all is plastered over with coarse, ugly, and ill-designed ornament that is a typical travesty of classi- cal detail. melee em te eae) +4 | y 7) Pe] og oy tC a tpt Fe ie SAL et ee “te ee Vga 3 SELTZER SPRING PAVILION, CENTRAL PARK THE same year saw in Central Park the completion of aK Bis Mh numberless little buildings in pseudo-Gothic, mostly [so FARRIS ie if , ; built of wood and cast-iron. Similar to much of the [2c /RIIMII%g AN | : Ghee fashionable detail in houses, full of some of the inco- Hiner: a: it ANE herences of the plan-book architecture of the time, they had an effect more oriental than Gothic, and exerted considerable influence on popular taste. Many still ee ¥ Ti Nk ; AUIS tf ella ii ae PUA Es | ae pees ~“ —s skeet | a cro ayes a SS we £67 ae Fe. Fe PN et ee nd ae ) i 4 - 6 a eat — S erg, + a os pr ee stand, and streaked with iron rust, with gaping joints and broken detail, reveal the essential unfitness of the materials as then used. seals. Te te SAC FOS Peery erty Ta oe a7 - ~ St pe oe eS . - 1 -% Pat te Pete a FULTON FERRY, NEW YORK, 1863 Tue blend of semi-classic and pseudo- | Gothic forms that marked much of the iron architecture of the ’sixties is well shown in the Fulton Ferry house, built in 14) iy RE A / i toe 1863. The use of many long slim round ye A v aN et | OH aa arched windows is characteristic. The Sr ee Se eo ee eRe PT 7 . oo 3 Set tet ee eS - ag ter + SES ss * ‘ SAT Pa) ee ee ee j } 4 ey ~ - LAW J , a . AL I ae breaking up of wall surfaces by many small Bia Re eee) «panels destroys any sense of repose. 385 From Valentine's Manual, New York, 1864 TR ge S85 Pm +> ae LAI a52 cae eT att ry * fa . mi et, eek -a I | ~ THE PAGEANT OF AMERICA Rint bP ihe tb ite. oe EXAMPLE OF A PSEUDO-GOTHIC COLLEGE BUILDING It was in the pseudo-Gothie that college buildings of the period reached their fullest absurdity. The Princeton School of Science, Prince- ton, N. J., reveals the height of the movement. Gothic tobe alee) Meet Dalehoti tetera caren Lettie 3 - ‘a - - M a forms are travestied with an utter ignorance of their true character. Towers, oriels, 5 pa St Deeg a Pebble reader carla Pde shee aera aie > © ye ee Fi oP OP IS 4 variegated slate roofs im crude patterns mingle in that chaos of form known then —and loved — as “picturesque.” And worst of all, planning is utterly absent, the building is a tortuous labyrinth, and a false door is used at a main entrance to give an impression of bigness outside where none exists within. etheh wed Werth eae Etta eh ent ee eee ey i - 2 ot ay a ae - ’ se &. * ‘ad aa a - ~~. i‘ PT herbed « mee = THE STATE CAPITOL, BISMARCK, NORTH DAKOTA Tue tradition of bad building, the lack of esthetic tradition in the great agricultural country of the plains, Ne ae Da ber ain re eh Td use of “‘false”’ materials — galvanized which in older and more established parts of the country were beginning, at iron cornices and the like least in part, to be superseded by a better standard both of design and execution. a a . ° . a . é: showed itself, even in public buildings, ie as late as the “nineties. The capitol seis : ™ : a building at Bismarck, N. D., dating ae ~ . . : ie from the early ‘nineties, shows the ir pseudo-classic detail, the small scale, Meas scsarmesrmemetieOn tt iets, ona mua | ee > . . ON eh ee a fa ‘v anger 4 = ‘ oF % << f 5 i the lack of any real composition, the we eta Ny) | 3s: Hp 387 From 2 photograph by Underwood & Underwood ie I 7 a - | STATE HOUSE, HARTFORD, CONNECTICUT Ar Hartford, Conn., a lavish state capitol was completed in 1880. It was designed by Richard M. Upjohn, son of the designer of Trinity Church (No. 761), like his father, a trained and enthusiastic Gothicist. With considerable dignity of mass, and decided beauty in some of ‘ts carved detail, beautifully executed, this building shows, in its attempt to wort treat forms essentially classic with detail ae f essentially Gothic, that the full implica- tions of monumental design had not yet been entirely grasped, even by an archi- ~~ | SSSR Sennen j et alate Rete Sean han tata oa bent tet tea tee head ee et ee tea =e, Jape tty eg oh : = Fone Loe PT _ rT he” pd : Ps ; el ah gS rae as th bas a we / Bp HP NG vat tect of training and distinction, in the ‘ < * a Atte a 7 OES | wealthy and “cultivated”? East in the : ’ ar te f 7. (nS, 4 aaa a Ra EUAN Gah, CLR pera pitt teh aN a eS en FAR De eao LN ead oa ee edie orl nes < FU Hynde ‘ re » TeS . Me: oa theless aieroerery eee STARS Oe he ROD advanced year of 1880 388 © Detroit Publishing Co. arn « sae? _ . phot st on Pt Rate ec tea A ohn th ite ete tle en el eed hla ed . b aS Sa oN Phy = Shr SNR ia <- sha hake abet bc BAP vatntan Pas ce » = oaCHAPTER XIII BEGINNINGS OF THE AMERICAN RENAISSANCE, L880 —1900 HE immense flood of populai * interest in the art exhibits of the Philadelphia Centennial Exposition inaugurated a new phase in American esthetic develop- ment. Here the American people first saw the best examples of European manutacture. In English furniture and china, French porcelains and textiles, and Euro- pean silverware, they found such perfection of finish and execution, and despite fidelity to prevailing fashions, such a comparatively high level of design, that the contemporary American work appeared crude by comparison. Moreover, this discovery of the pos- sibilities of artistic manufacture synchronised with a growing knowledge of art history and augmented an already nascent curiosity. A del uge of art criticism, particularly on “‘Art in the home,” followed during the late ‘seventies and early ’eighties. The English Art Journal published an American edition. Books on interior decoration multiplied. Coincidently, a period of szsthetic ferment in Europe was marked by the height of Ruskin’s influence, Wiliam Morris’ heroic and magnificent zest for excellence of craftsm: inship and straightforward beauty of design, anal the vogue of pre-Raphaelitism. ‘These were paving the way tor W histler and Im- pressionism, which penetrated the American mind and laid the foundations of modern popular taste. At the same time with the awakened popular interest in art, architecture began to achieve a professional status. The examples of such great architects of the Gothic Revival as Upjohn and Renwick attracted to the profession young men, who soon appreciated the necessity of extended European travel and study. As early as 1850 Richard Morris Hunt had studied at the Ecole des Beaux Arts in Paris, and had even worked on the Nouveau Louvre under Hector Lefuel. On his return to America he had first worked on the capitol at Washington under Thomas U. Walter, and later he had set up practice for himself in New York, where he was producing work which was revolutionizing American building by its scholarly use of Fre neh prec -edent, old and new, Francis I or Néo- Grec, and still more by the soundness of his basic design. A little later Henry Hobson Richardson followed Hunt to the Paris school, w oral like Hunt, in Paris offices during the Civil War, and returne -d to practice in America. The essentially personal Mavencer of his style, a much modified Romanesque, colored American archi- tecture long after his death. Pe , The foundations of American architecture were laid by a long line of distinguished men who, like Hunt and Richardson, after foreign study, returned burning with artistic enthusiasm. The country was eager for their work. With the waning of post-Civil War materialism and inflation, a national spirit, abetted by railroads and steamship lines, was developing. Terrifically rapid growth and astounding prosperity, 1n spite of the panics and currency agitations, were founded on basic wealth and Increasing natural indus- trial development. Though political crudeness, confusion and questionable dealings existed, constructive political struggles based on the domination ol industry, and its demands for a higher tariff, stirred American lite. Between 1870 and 1890 the 165 Pe ii owe gece oF Ga TW pt be Sec a hy a alia TEE DE eae 4 sre ee arr wat LEVEE PE EP EE REPRE T (a5 he pp a a SG BP : _ a ” SRC ESSERE ES SERA REPRE PE CPC Thiet nat ork mS CT eae ey Ope eh Peer RR bed Sere Per ee tear ent eRe Deri Le Loot ey i TE oe a Ks ste BGS POE Pe Pe ee SUT ee ere a ee, a ee pee Sep is yo 2 ial a a a ee e] a e ee sae Pe a of ed ye ei Aad —_ eat ed 2S pei Eee tol eS esa ene ee a eter reer tae Wier ersiek sve e ee) ~- Gere ss FurTT he an Juche OS Oe De aera ery Pe ha “ Pt 7 ra ed ow ~ ~ = rare SPIE aes Pia err tee ere ET rt Fe So at” oe dS re <4 = ed i Se fy eS Ze Ch eee ead ee 1 eh oe fe Poe ee oe ae Pi ° de a 1% Ae ead a ae)YS OM emi here oe." ath eal a teed hs Bikol tet et DONE | peter : ey har char erecta ater cas AY Le . BA es : “ a, Pe - ee ee ee ert ore mb bi oe be bch np ea Ry rece hye eas f ~ ee A, Ae? . 2 ~ Lal aa aap a deme lt ie cea ita ht ea Ol be yt Se il z, S : . - B 2 z an stcehlete Rilee htiln Rerie Radda Lin els Ital chloe ee Ln tt ha ee et tt ‘ nde ut teat ela cd 0 ame tet te bh ed tk te er f 2 ob ate ad a axe alee a De hep J PY ye = a ne te . . =~ ~ x A Sry a Sit Stee the eld . % * Sich Nhe eal ith etal link te te te et tt ed * . c 2 ‘ os Bea toa) Ste ee ee eed . 4- = SSS eee Th Chet os ~~. Ph oN i i) Sma series pelt Dak dae ects Ve otha ie hI Sp eae Teh eat raed CE Ee - be ae be it) an i =a > ke ee - 3 b ~ en on o yi \E 166 THE PAGEANT OF AMERICA conflicts of to-day, agriculture versus industry, labor versus capital, emerged. Civil service reform agitation and the beginnings of organized large-scale philanthropy evidenced the birth of social conscience. America became a modern state. Such a time is admirably suited to the development of the building art. Growing wealth and growing expansion demanded an immense quantity of buil ding: but there was not the terrific pressure of the preceding stage; there was less ne cessity for hurried carelessness; there was a new artistic conscience; there was a growing refinement of taste to serve. Working in this favorable environment, the new generation of American architects established American architecture. To define this early Renaissance of American art is difficult. A battle of “styles” began. Hunt used Néo-Grec and Francis I; Richardson, Byzantine and Romanesque; Mc Kana Mead and White, Italian Renaissance, French ° Renaissance, American Colonial, the free picturesque; Ware and Van Brunt and Upjohn and Haight used Victorian Gothic; in Chicago, Louis Sullivan was working out his brilliant, purely personal expressions. ‘The use of past achievements as a pstndation for new creation is one of the great methods of human development. With the passing of native American Colonial tradition, of the Greek Revival, of the Gothic Revival, of the lathe and jig-saw monstrosities beloved in the ’sixties and ’seventies, there remained only Europe, for whose amenities the Centennial had awakened longing, where students had found inspiration and beauty. The battle of styles was inev itable. But the new American Renaissance was characterized by a new psychology of style. Style became no longer an idol, as in the strict revival days. Historical style was an aid only, a means, to be used as the designer wished, freely or strictly. The character of the basic design — planning, expression, composition — that was the big, the deciding element. As Historical styles were only a means, they could be abandoned entirely at will; some of the very best work of the period i is work purely picturesque, purely non- -historical, where the style is that which results from the necessary form, and not vice versa. The new Renaissance was characterized by a new honesty and a new joy in the use Colors and textures began to be played against each other, made an in- Terra cotta, faience, glass mosaics, rough bricks, roof tiles, Often an exaggerated, restless rich- of materials. tegral part of the design. metal work — all were used, experimented ae ness was the result, particularly in exterior work; yet the tendency served to set the artist free, to widen his field and broaden popular appreciation. And one other underlying tendency ran through the period; a tendency that has its roots back in the years immediately following the War of Independence — a tendency towards the increasing use of classic forms. All through the Civil War the United States capitol dome had been growing — and the influence a that never stopped. All through the time of the Gothic Revival, of the artistic bathos of the ’sixties and ’seventies, some type of classic had seemed the accepted, the natural style for such monumental buildings And with the coming of the new Renaissance with its growing sense of restraint and dignity, its growing mastery of an eclectic classicism, this innate and natural love for alaseic forms auld not but be enl: arged. In the choice of a classic style for the World’s Columbian Exhibition in 1892-93 the consulting architects only sym- bolized popular taste; in the actual creation of the tremendously impressive group of buildings with their ranked arches and columns they did more; they astonished, de- lighted, and fixed popular taste. The Chicago W orld’s Fair was climactic as the Cen- tennial at Philadelphia was epoch marking; one ushered in a period of gestation and growth; the other was the symbol of the rival at full birth of that which may be called modern American architecture. as state capitols.BEGINNINGS OF THE AMERICAN RENAISSANCE — 1880-1900 167 COUNTRY HOUSE IN JAMAICA PLAIN, MASSACHUSETTS THE type of house shown in The Art Journal, (No. 363) was destined to remain popular long into the eighties. Its design was a product of the new interest in craftsmanship aroused by the Centennial in Philadelphia. Much talk of craftsmanship was in the air; much talk of “truth” and “sincerity” in design, but these principles were little understood. Although the turned posts and scalloped shingles and gable tops of the house in Jamaica Plain look out of date to us, its simplicity is a step in advance. The importance of restraint had at last been appre- ciated; because of that, development was inevitable. atk + ca : SS ‘4 “ta a ¥ ‘ wont < “te? +. tf" on , j are bd r ak . as = \ y - ss i C pa KS HOUSE AT ORANGE, NEW JERSEY Tue house at Orange (No. 390) shows not only these qualities of simplicity and free composition that were becoming more and more popular, but also another new quality: playful experimentation with surface textures. Its general form is based on French chateau types, as is frequent in this period. The large quiet wall surfaces are broken up by laying the brick in all sorts of ways and by making certain bricks project. But this new charm is compromised by certain reminiscences of earlier styles in oriels and balconies. Nevertheless, the advance over the houses shown in the last chapter is enormous, and the simplicity ot porch arch and the round tower are significant signs. - = am ; aE : S = ; - - - SY —<. ae : “ =y art <— - - ~ ot ‘ eR oe a —_ 7 — = ae > = : as an ewe al . Tae. — 391 McKim, Mead and White, architects; © Architectural Book Publishing Co. THE OSBORN HOUSE AT MAMARONECK, NEW YORK Tuts house shows how all of the new and promising tendencies were combined with a new matey in the early work of McKim, Mead and White. The composition, with its use of the popular round French chateau towers, the simplicity, the feeling for materials and texture, and the lack of any superfluous ornament, combine to make a whole more truly a work of art than anything known ten years before. Ae ae ey ESE 5S = Talkies eats sure i Ro ~ CLR LATS ee ew ISGH oe ere eee ere. coer CRe eRe KRCer Lear Roe Pim rr tren ir t Retin h at roi Latte > % fs Pa ~ 3 Ee eh eS Lunt as we ~- “= eee SPUR he Teta t toy eo Pe on tree tees “se te Te a is ola. ‘ Co ee ee Sey ee . a s&s a = ea Le A ae Ss eas ZEEE oa CR Pe ae PTE SY A Tk Tea etd a a ee eee e Cau - _ ¥ er o » 5 0 on Sc eS SEP Pte ed S40 Se eo a ts) Pu 7) Se a - oJ "e - - *s - Se ae 5 ETA Se PR Pe os Je eee ae ee ee ee ee ee ee ee ee eee dd Maen es ee had ed 56 J * a» aye at ot PPL Co Ce Ie Oe ES ieee a 2 eee rie ye A a ad P Pe| ' (a Pe et ett are r . “s Neb ata Rp Re Beth 5 eae 168 THE PAGEANT OF AMERICA } | J | THE EDGAR RESIDENCE, NEWPORT, RHODE ISLAND ANOTHER Important tend- ency in certain early work of McKim, Mead and White is the return to forms essen- tially Georgian. The house of Mrs. William Edgar shows aes war i) La A ew eT “ 4 wr " oat f a rs “all S driers Aaa ear iene ea lat ADD hae oe 4 hae rol eine ie bate Die eal cel od leet as “ys He A ee ee aT a 7 . Ss Mi S . = a Sa ~ » tmenly e - je os . ° 3 how this Georgian trend was mead 2s at first mixed with a rather mea hregels bd a contradictory trend towards ee . i ste ts the picturesque. The new Bn oa interest in the ‘‘colonial.”’ piled ab baal thea ee | 5a ae G os $< ra ere Rey which here receives adequate sf eae : Rae eT rere ies < : + “ty . E . a Paes — ieee Mita a vecw eee expression, in the hands of 23a nd eh es tn. AE Pn} PT ne OP Red : Ars Ee Saya SSS TE Oe een Sin oe others less skilled produced e eee pe 2 A See hundreds of dull, crowded Te is re) DPA LE OR he ee Sea ery Se 4 oe C i Ph ry or | bl oS Ln ae oe Bae 22 a he 7 Lpssreere bras re MiP Tice bial AM eter Ben ake ial ei eds sad Fe PSE A Dae 392 McKim, Mead and White, architects; © Architectural Book Publishing Co. Seana eh eed tee teeth — designs. COO ~~ * | ‘ « Ss eed tl a oe hee Tee Ki te Qe. | eae 3 ¥ ee 3 in Dt Nak Nee et leper te ei te Nate test bk al Lt elk rt x A a .. ce Tl ie, a - eer a) =. ~ Oi or ae rin, ne ees)! j PR pry) gt oe il A OG * meee | oh Lee P ya See, Korea cate ~ | he eet aon = . a ba hePE PR PRPS PRE OE Leas Kgnapdessumisen act rSs 169 f A WEST END AVENUE ROSTER. eras ae & | : DWELLING, NEW YORK | f= | MEANWHILE, in city work, the earlier ” B brownstone Renaissance and _ later Gothic was superseded by work borrowing both from the love of the picturesque and the quasi- Romanesque that Richardson was popularizing. TSEOHD TORE NEL OF RDC REPU DECC PE ae BER eC ee P= PEP Narn rr etre rir Thue oY he curb | Era 7s Such a mixture of influences is seen in this group of houses at West End Avenue and 75th Street, New York. The use of heavy, low, round arches of rough faced stone and of heavy corbelled forms is characteristic. Yet certain undesirable modern trends are apparent, too; the gables are purely false, and the sheet-iron | ee EE cornice is used. 394 Lamb and Rich, architects; photograph by Soule Line ANSON RS HERES A sed I Py dP patna = ore Sade ge Phy PUT Tee A MADISON AVENUE RESIDENCE, NEW YORK Tuts house (No. 395) reveals a mixture of details in themselves in- congruous; but it shows also that Bruce Price was an architect great enough to rise above the demands of the then fashionable forms and Impose upon them unity, restraint, and even charm, despite the ob- vious eighteen-eighty character of much of the detail. Sdn 1 ae rad n> Ce See) LF ed eh, oo ™ atts 5 on 8 YT al AER a a art Sey eae 7 i, ‘a a i 3 a mr e Mia 3 -- oer | ne 2 oI a A H z } by.) » 4 Kt = 2A) > geet oe aed ae Pro Res va a 5 : a by 7 . Pate ion I ee PN ee ke 7 * = 2 ed ag ae a ee TN ald ea ae 396 Herter Brothers, architects; photograph by Soule “ oy ~ THE VANDERBILT HOUSES, FIFTH AVENUE, NEW YORK Tuts period was one full of the zest of architectural experimentation or rr ae 5 ry 7 and the discovery of form. French influence was dominant in the best work; Néo-Grec, French Renaissance, French composition, but = J molded and changed to something fresh and new. One of the most Ie oe Pa talked of works of the time was the pair of Vanderbilt houses (Ne. ~- 396) on Fifth Avenue. Bands of beautifully executed naturalistic foliage prove the new solicitude for detail; but as yet composition ad 5 and the logic of style are not surely grasped; the design, however | , " PI PITTI ONS LOE I AI BI MR Es Laie Rae Lia A ans et WON sme eaten | lovely in detail, is not “organized. 3) 395 Bruce Price, archite:t; photograph by Soul: a2 ey Oh Fe ae add es CA ee ee) ee a ee ee el - < Sieeas\ § | I cae ots * 170 THE PAGEANT OF AMERICA ie bh tL are Radikal |) 2 THE W. K. VANDERBILT HOUSE, NEW YORK Ir remained for the two greatest architects of the time, R. M. Hunt, and McKim, Mead and White, to give final proof that American architecture had passed its apprentice stage. The W. K. Vanderbilt house, by Hunt, shows not only Francis I detail of a purity, delicacy, and sureness of execution before unknown, but also a whole carefully thought out, carefully organized, without a single note out of tune, where each bit of rich ornament is used not for its own sake, but in order to perform its definite task in the design of the whole. The house still holds its place as really beautiful, irrespective of its date. SAF ere Pty Tare? Fae Kr Te RD rate Wwe e omgnd Dae A! a tah ee hee) eee eee a ee Sy? . E 7 St de eee Pact tl tt ca eb ehh iced oa beed iL Sahoo el Ee Leth ed a » * a Set He . Bn Le itd oe = “hgh ed ‘ ‘ ‘<-o = 5 oe cP ‘ 5 hg - = Porn ea eT Ee er re eres ai coe eee Re Nee ee a ce ? 1 ae, ; a = rm ets ET ; FOC SO fied formed se ce rs mS i 397 R. M. Hunt, architect; photograph by Soule THE TIFFANY HOUSE, NEW YORK Tue Tiffany apartment house in upper Madison Avenue (No. 398) marks the climax of the free type of early non-stylistic design. Themselves pioneers in decorative art and responsible for a tremendous rise in the popular taste of the time, the Tiffanys chose McKim, Mead and White as architects, and the whole work, in its oddities, its originality, its use of materials (wrought iron and the like) and the powerful silhouette, is truly expressive of the artistic en- thusiasms of the time and of the family for whom it was built. toe er é A f € i oe i Ri vee a ': + wt 4d, Wi ae oa Ce a a Fs Ley a Jae Ne 3 a . oa i eae Bisfs J 9: i 5.- te: i fi q * TEL ite eae eee eed TVTULL LAA ree VT PITT Lh bak he BASE -*. ’ en a me ae po Fe ee STL ~ fica ath a eh ae atta nd hn ete enh te be ak ha ot beled itl een a haa! — a a Z 7 ey oa ek 2 a otis ke i ae i nar Re iv ai ene | Beas ; 7 pe oes 398 McKim, Mead and White, architects ee ee Tt THE “MARBLE TWINS,” FIFTH AVENUE, NEW YORK Tur ‘Marble Twins” show R. M. Hunt working in a vein purely classical and almost austere. All extraneous detail is absent; instead, we have a return to the classical feeling which motivated so much of American work eighty years before. Perhaps a little obvious and heavy-handed to modern taste, these houses nevertheless are in the modern, American bl ie et ee ee ee ee esa et Nag 5 AGP ASAE 5 i ay eae a ig F- - oF ine le = hake ~ re tradition. 399 Hunt and Hunt, architects; photograph by Wurts Bros. Na tin ait tate tal tt ott tr ae * 5 Ss - Pi reco +s ~ c=roy ie bt Pe Pa PS Se Ss PEER EP ORten ee tad BEGINNINGS OF THE AMERICAN RENAISSANCE — 1880-1900, 171 eer st ee * ITALIAN RENAISSANCE HOUSES IN NEW YORK Tue Henry Villard house (really a group of several Se Dee tee Oe we Ce PTY PAte tne te hat eet ht lal Tr we rae Oy TKEESEFE ey teeth as houses) shows the same re- Ser at] strained Renaissance type. Gi This time it is a simpler, a -“ earlier type of Renaissance; cornices, window treatments, the court arcade, the railings and gates are all based on the purest types of early Roman Renaissance, treated freely, so that the whole is not a copy, but a creation; only the material, brown- ore) aaa ae a a bon ot — gs c iis af, < Pree ‘< ae stone, remains to place it as early as it is — 1885. 400 McKim, Mead and White, architects Q WF. soe Atay St Pe P| my ea ra i ot * we i Pr ae en Py Tate THE CENTURY CLUB, NEW YORK Tuer Century Association building, by the same % a Se ee eS SEE Seer ge 6 ee oy ey ee ae \ ) ~ > am, | | res mr -| architects, about 1890, shows another modern ; Samm: | used bh EEE : é : ; . rm) i: Hy example of an inspiration essentially from the 7 he T= Pt ep a eee Italian Renaissance. It shows, too, the careful Pea 7 mI : rr | 4 is ae ‘* E ad | study of material, and, in particular, of the ree ie beh am . we possibilities of terra cotta, a new material des- Sox 3 pa dy tined to play a large réle. Here terra cotta is treated frankly, not in imitation of stone, but es ad af ' . Gran ' i Pee PAD bree re with a delicate modeled pattern on it, so that _ Dard o it shall obviously appear what it is — burned = pF O) P clay. | ors ire BMD oe 401 McKim, Mead and White, architects; © Architectural Book Publishing Co. er te ee ee PROS PSR yA ke) Ce ne THE NEW YORK HERALD BUILDING THE old New York Herald building is interesting, not a os - pe Pte SIs 9S ot el FOS TASC EWE CL Se ere, only as being an excellent example of the architects’ skill in using terra cotta ee a a ~- eo — ~-. to produce a vivid and scintillating richness, but also because it is one of the first modern buildings to be ee re - f sis Q oe - . - ‘a oe a= ung Te A ae >to < eet ae Pe Dg oe De Poe) 2 ee ee es oe eT studied directly from an Italian Renaissance proto- type, the City Hall of Verona. ~ 402 McKim, Mead and White, architects; photograph by Wurts Brothers OY ge : YOO I ote horns Bape =% , 172 THE PAGEANT OF AMERICA bet ia et et oot bak iat) tn th ced Breas e ee SMOKING ROOM, . » SEES aL S tT ae \ rnrYT mmm ~ + Ee aa eae ee FLOWER HOTEL, BOSTON : SiS ee | RoR eee ee mee BP os See ay ae ete In domestic interior work, the ’eighties cc 7 = Cd a ie ipeteah i raw io | (0 past Fe By ie ees : Pe o ‘ r Nj at Wis ap A Loe 5 ss ‘ : * Be fs pew) ea _: bey nec Pi ig f. 44 were characterized by a blend of varying tendencies. One of these was a pseudo-Orientalism, sometimes Japa- nese, sometimes Arabic or Persian. (| The smoking room of the old Flower | Hotel in Boston is typical of the Arabic variety — Arabic forms in the mantel, a tile ceiling, and walls of rich texture and color are relied on to give the Oriental touch. Although often manifestly incongruous, the Oriental taste sometimes resulted in an effect of rich, warm color. 4 iw te 2 ’ - 2 ei ate eee ee ee . z= ” c a ‘= Pars i Si lin *—Fieag * ao” FA mt 7 ee Wo SERVLET TE r —— r = = , Cid bea a ten art ee retorted ul bl ee ete eae toate delete cerer eae é Se Sr E E 403 L. Haberstroh and Son, architects; photograph by Soule bt Theh eed Wet uh ELT ete heen ee et eB, pe G ee ta) a a ep et Chil tee * Sh BT Laat Aas FIREPLACE IN THE COURT OF APPEALS, ALBANY, NEW YORK Tue love of color, particularly of iridescent effects, popularized by the Tiffany favrile glass, affected taste everywhere. Rich marbles were much used, painted plaster relief panels, sometimes insets of favrile glass or tile. This mantel (No. 404) by H. H. Richardson shows rich marbles combined with that type of free Romanesque and Byzantine ornament which was the special characteristic of his work. Ae Sam ae a lererinan siete se t 3 on ze a if ‘ \ Agee ig oti ; fe ia ee , site ry heen eae f if ct if T ie ae fl ) rf ie , ~~ ~ ~ Sse ~. HALL OF THE HENRY VILLARD HOUSE, NEW YORK Hae sink, MOEN pe oma Tue hall of the Villard house (No. 405) shows the faper PR SMAL! ~same love of color and surface richness finding ie ~ bode pe Y en i feet Lie eeu s . ~S% ed >" OR I i ‘hy trys} aaa a (Pa , ene ae ER is - Sl . . aa expression in Renaissance forms. Mosaic forms a large element in the design, for mosaic design was being diligently fostered in this country, by the Tiffany Studios, the Lambs, and others. The beauty of the curving lines of the vault above counts all the more strongly because of the simplicity of the marble wainscot below. The fireplace has a beautiful man- tel of the type that was developed in north Italy in the late fifteenth century, and helps to give this hall its rich yet restrained palace character. At its best, interiors of this period have a richness, a warmth of color and texture, an imaginative quality unfortu- nately frequently lacking in the more sober work of a a — 5 , oF y\ . A 4 si bE key a i a Si a te naa caleba Maton Sd hh steers dead yen ten tan erat te Phd ea et a ant hehe TS 5 i eh ae ai ie bay < ~— ee Nae | * . a + A ee ae by, - . foe. te ~ et Se i es 5 C ae < Pt ped to-day. 405 McKim, Mead & White, architects be he Rt hates hot he ta dd ~ ag SE eh FA Re ~ “ ss a Tt cea ot Sy kt aloes) be a . ee P Teel “ty esBEGINNINGS OF THE AMERICAN RENAISSANCE — 1880-1900 173 ‘ ’ o Via pep ry p ero are Prt tite ie wr Cork thay ye a ah 4 et nett tr) TRINITY CHURCH, BOSTON THe work of one man—one of ‘ i EER DSO ) Shier br kant the few true geniuses of American architecture — gave to the Victorian Gothic its deathblow. That man was H. H. Richardson. Gifted with a great imagination, with a sure grasp of large informal composition, his enthusiasm was early fired by the Romanesque work of southern France. Trinity Church in Boston, his master- piece, combines with certain fine Romanesque traits a bigness of con- ception, an originality of detail, and a perfection of careful execution that §& a make it a true and noble monument. S ae aca eS Tae Gs een eat Loot et e 5 Wea tot as a ee ae rare De eth ek Ca tole ghar, ees - ec, SN aE Pr Sey, . + bE, eee Sail Seen gees Sais saranda Oooo oan et PT meen eters Penne Arr a Pentre ata 406 H. H. Richardson, architect; a by Soule ee Pe ULE es CHRIST CHURCH, PITTSBURGH THE style set by Richardson | — Richardsonian Romanesque | | | — swept the country. It was copied, adapted everywhere. Christ Church in Pittsburgh is a good example of the better type of adaptation. Its picturesque and forceful i} 4 | re ae 3 a 2 nee a z I ~ Say - Perl = PA ES a rR aL ered toe kT et Ga outline, the crag-like strength = - of the walls, the low and es | heavy porch arches are all in ed hed | the true Richardsonian man- ie ee ner, but the pseudo-Gothic 4 To ie Aen RE Meecha yy |e iy a Peay —_ ‘indow tracery seems incon- be Paeae YG UE Ba Be a SA ee tet ‘ae Hart Raia ¢ OE tant window € Ves ‘ een | - (we " Per yee ee 407 Halsey Wood, architect; photograph se east A ~ gruous and forced. INTERIOR, SECOND PRESBYTERIAN CHURCH, NEWARK, NEW JERSEY In church interiors the love of broken color ? $250 5y" eS 5 Sa Se oe Se I eC WN Pelt i) dh dal ey ike. J and rich texture noticed before holds sway and combines with the large forms of er ed ~ = Richardsonian Romanesque. The interior . wt Se 5 9a ed he OS a3 Pe ee ee ee a a | of the Second Presbyterian Church at See Me og i Newark, N. J., shows the combination per- fectly. Trusses of The Art Journal type of detail, heavy wood wainscots, round arches, and polychromed walls set the note. But S752 55 Fa ye 3d > eee eee ty ae . a 52% a . aya oe lk Sel ht the elaborateness of this type of decoration demanded more skill than was often ob- 7 ~ ood ’ tainable, and cheap stenciled patterns, ugly and blatant, were sometimes used to Cs ye Ants spoil many quiet walls. 408 A. T. Roberts, architect; er PTE: by Soule PS ope Coe aes Dg ee el ol rie rete Ts: mM hd eed PoSabie bie LL tee Oe ee ee ea ee Tee , * ahr ee ans rar hat one bt et Le ag be artis hh teak bint ee beled Let eel el Ce LST ba! i ene we aks To. . <7 or L ye Fy me bh G p D - a { \f 174 INTERIOR OF ST. THOMAS’ CHURCH, NEW YORK Tue interior of the old St. Thomas’ Church shows the same type of polychromy applied to a Gothic church interior. Here additional rich- ness is given by the decoration of the chancel by John La Farge. In its combination of relief, painting, and mosaic, the whole is expressive of that love for textured richness which charac- terizes the whole era. OLD MUSEUM OF FINE ARTS, BOSTON Sriuu Victorian Gothic, but expressive of a new freedom and skill in design, is the old Museum of Fine Arts, Boston. Large plain wall surfaces, simple composition, panels of relief sculpture daringly used, and the continuous rhythm of Ty ce ee | q a a es a Cae es fo s bed tet ee) penne Oatpomreay Tent wn xine ymant pn Ay Maja Ymtnan : <4) = ee oF of Victorian Gothic work. « ee aa Ai le Ne oe ee Te os te cet - « eS AT eye a : apt a Li ed — ~ Fa} | 7 Ce bes | fy Or t H - p ee rs te Fes: : Pre ry ee a | FOr, oe i Hac | q a r3 be ee Fr i 4 ee a2 Sturgis and Brigham, architects; from a _ si Sa er a re et tt, > = et be daa ade tel od ahaa en eas te PD By ty a > a -« rea) “ a < ~ Lleida de te a ar eT ta ey oe oo ak “ae - ~~ hai tote ah tT R. M. Hunt, architect; 411 photograph by Wurts Brothers Th ft el ha ‘ a ele eee od ee ea ak a ~ a a kk _ Ca = o. - > . - o a - =f. - - . ci ’ Wow. “i . | - Bee = Ii : ; : . : ; | ; 5 cee ) " a r 4 - 4 ~ ‘a ad ; ~ 7 ’ os ei. J ee . \ es o % oes ee ae . im inet, PRR .° AS b z b Fa a : rT ~ ' > at) ry ary — Sager ere A 5 LP . ar ae | Bh | BS OC 7 , a en - a} — b b re yi by h . 4 1 a » Os Se . - Ly A — - cn a OT pel ae Phe ec a a I oa FAs eee ada ee — — $$$ $+ F Lye re i> Wo OAT . 4 4 + Jt ‘a 4 rN . ‘ “AD - ; ‘ - *i> ‘ i x ' THE PAGEANT OF AMERICA +S be fe . es o . ans eg ee = , a iit = iu From a photograph by Wurts Brothers the first floor windows gave this building a vitality, freshness, and power that set it above the ordinary level It was built between 1876 and 1878. photograph by Soule THE LENOX LIBRARY, NEW YORK Tur Néo-Grec style found expres- sion in a few public buildings, the most successful of which was the Lenox Library, New York. Force- ful simplicity of composition com- plemented fine largeness of scale. The detail was gracious, restrained, delicate, well applied. Standing originally almost alone opposite Central Park, with but a few low houses in its neighborhood, the monumental character of the design lent itself peculiarly to the setting. It was destroyed after its collection had been removed to the New York Public Library.sal. | Su S * Ti . 3 é os wef tt ice bot Vt nA s y BEGINNINGS OF THE AMERICAN RENAISSANCE — 1880-1900 17 Or cree b\aniwidymiwhean f t4.4 Sah t yy pele Ve ale lees ett } Sw rw ne tye of qeP Ay ; 7 ES doe eR SSL RR Bae Sen 5 a) c 0 tae. te SL, Nee the Shah aed COC ee re ier bal ts aS > ae ‘~ ~ filemon Si Ea crip eel Loa Ph eho ue Neha eran Sans Lester bat > a / y ; i Sab) a bes | ri | tH ) ett | a F a fet ; | * 1 fs “ buys Ladd i. o = : Fi Whee x ; + Tal po fs ede , t eis S a. PF, 1 $ % pee < “+ ny as f 1 7 \ ‘ » ; Ae ee a an - atone m4 N 412 ey Calvert Vaux and J. Wrey Mould, architects of part completed in 1880; Theodore Weston and Arthur L. Tuckerman, architects of part completed in 1889. From a photograph by Soule THE METROPOLITAN MUSEUM OF ART, NEW YORK ANOTHER work of primarily Néo-Grec inspiration was the first enlargement of the Metropolitan Museum of Art. Its daring brilliant contrast of red — very red — brick and white marble was in accord with fashion, but its essential lines are quiet and well proportioned, and its detail — once its Néo-Grec ancestry is admitted — sufficiently adequate, although Ea ile ~ een ul ee ERA ass a: 7 to the modern eye strange and uneouth. But the whole has what most Victorian Gothic had not — design. pA ee Pe Py rte on pret a hat - THE CRANE MEMORIAL LIBRARY, QUINCY, MASSACHUSETTS Tue Crane Memorial Library shows H. H. Richardson’s work at its best. Good composi- oF ar a i a om Ban ie = =} >t eS eh al “ Qe oe AL EMSA ONU SFA OR v= —«t bay tion, free balance, rock-faced stonework, and detail of a Neo- ae a a _ il Le . Le I ea er Ge RY La nc EI aut’ se oe Byzantine typeorredhaaage >>>E————E — 4 Saat eas . eehae 413 From Mrs. Schuyler Van Rensselaer, Henry Hobson Richardson and His Works, , teristic; In this building the Boston, 1888, courtesy of Houghton Mifflin Company M picturesque quality is not forced, and the modesty of the whole has not permitted any of the eccentricities ye ede Sr eS eS PP et he etl dn) ——_—_——- ——— whichsometimes detract from the effect of his work. at ae z a Sad] THE FRANKLIN McVEAGH HOUSE, CHICAGO RICHARDSON’S type of robust ” ey - a y Mile | Sos' ta gon a Fe eee per eee yeh Tok hog err ny Ee A ae pay | detail was manifestly less Bb rE == a: tf ae | suited to houses than to monumental buildings. Never- Sy a ** Jo = 25 STS Sy Pewee ror 4 4 ee FA See . i * wl Z < os i hi Gs pane | LE! 4p i) Seen theless, his was too great a tal- yy" Steed toed ent to fail at any class of de- Pp ~ sign, and this house shows the é picturesque and quiet char- eS werd B rae — - ‘ * 7; a ° Pet ae acter, combined withstraight- Sa ee ears o SR forward composition, which ie 414 From Mrs. Schuyler Van Rensselaer, Henry Hobson Richardson and His Works, marks all of his work. Boston, 1888, courtesy of Houghton Miffilln Company Fs Oe aes yd ie ols ti P oy, im bee De cd rye ds Pe o O iatMYND LaF rey ve ie ten oeat Pied Lt. hy - é P PE ae age ee t= vi = 9 i a maa x = be at ler One ce “ ba tale ey ite t Si ed Wt wae tie he en ee en Te -« me Po ee a , tS 5 a ge ~ ~ aie oe hero CA eee th oo f ee Pee ha ee 2 eee een rom — - Bes pach a Ch fi dea hn ites iio teal Sioa bebe Dh eet or Lea | y aetna Tr e be La bash ta ear ei Bo ee Neen eat hd oat | Le Natta al Let her a Wie ~ pa ‘ ~ as bethcieet enateiindastadiatt Loe Riel heel Med To hie) eee pe eT oem oe x ad ~ ba tr ated Sk rnd ag Sethe hte hehe et te oe a eC ee et SA Soe Chr ota) py Te! te AT Gy ain Cs - = = 2 ~ ate. rer ay Te atien, el Rept alee ack chat hata tal a” é ss C4 a 4 176 THE PAGEANT OF AMERICA HALL OF THE JOHN HAY HOUSE, WASHINGTON THE hall of the house of John Hay shows Richardson’s origi- nality, imagination, and sense of | ae 4 ae picturesque composition applied ef arr payyot me to the design of a house in- ne z at nen aN Wege|e|| terior. Using the popular rich- | a i Be RAeas) ness of iridescent color and Vereen rt es ees ry exuberant form, it is neverthe- tt OT ee hi less quiet, dignified, and wel- , aN coming. cal TE THE PITTSBURGH JAIL ao WY THE Courthouse and Jail at SASH is Wf Pittsburgh is undoubtedly one of Richardson’s unique works. Particularly in the jail portion, with the “Bridge of Sighs”’ that leads to it, he love of simple wall surfaces, of the roughness found adequate expression. With 415 From Mrs. Schuyler Van Renesclaee Henry TT ORGOn Richardson and His W ane courtesy of Houghton Mithin Company of rock-faced stone, and his genius for the handling of heavy masses, certain elements — the bridge cornice, the pinnacle at the right, and the form of the central tower — betray- ing his love for South French Romanesque forms, Pee oe ee eee ee see the whole is nevertheless free, uncramped by arche- r | ology, and as vivid and fresh in style as it is success- ful in mass and composition. NY a Rn ~" ~~ . . b MS be * ~ * “" J , = ‘ ~ ak eal * . be ™ : : . - * “+ - . 7 ‘4 40 > » &, . r ue eh f \ . 4 a > aes , ; 4 ~ * = . b . ‘ > ‘ = bead . C we . i 7 | q - 7 ; = Ss oy yf a 7 3 4 A 1 i; . F iris ~ o — . 416 H. H. Richardson, architect; photograph by Soule THE TACOMA BUILDING, CHICAGO Durine the ’eighties the skeleton frame building began to be common. Chicago was the center of the early development of “‘sky-scraper” design, and Chicago architects were the first to appreciate the peculiar esthetic problems that work of this type necessitated. The Tacoma Building, 1888, was one of the first; but it shows how at once the problem had been grasped as essentially one of much glass and narrow piers. What ornament there is plays a subsidiary réle. The conditions of the building itself determine its style. Hie eee soi LI. 417 Holabird and Roche, architects; photograph by Chicago Architectural Photo Co. et TEP EEPPEPREDESETT (4 5 Ls Pi ts) PEt ep ey hie Ft i Ba) — es a Pe BEGINNINGS OF THE AMERICAN RENAISSANCE — 1880-1900 177 gy ao Se ee THE AUDITORIUM BUILDING, CHICAGO | SAN “| OnE of the most individual architects at work on the problem was Louis H. Sullivan. Not content with the novelty of general form, he felt that the novelty | Soa E Koa twas 4m = Z — 2 a “ errr ~ of the problem demanded absolute novelty of orna- | PS Set ee Bere Pe Sy Ba ee / my De i. 7 if DB a - ~~ ment as well, and out of a combination of geometric aC Peps eee ee Cpe PE Ee Nee eo sere Se aT te et ie oD ete a tot Ee ay eee om ~ en Tote ~ ae - vl oe ~ a Some oh a ma s a—— Sa =/ forms, Byzantine ideas, and some Richardsonian aN \ Mi * \ \ we D \ ccet (77-44 e c Romanesque details, he evolved an extremely rich and 4, ¥ aN : ¥ , ‘S\ Vo \ ~~ emer characteristic ornament. The Auditorium Building by Sullivan and Adler, 1889, is famous for its size, ni careful design, and the novelty of its decorative forms, ! i =\\ \ ay 2 tk) 4 a — a ae: st - ni * : pe . , Me , f 4 ign ites dee at ~ a i * " . F . eae i A ; a) . i ¥ ie J r “> ue i ii aly Pi r (be +} = be ee a Y , g <= Pe , fory — f ae A ‘aE |e ae a Bb | /™. = * _ Re 7 Ca) : - As = “< - i ee I A Ae a gg os, i t. " Lhe ie a Sa me =. ws = = Or A = Y a = & “ 2am ore oes te r= tet te oe bet heh nd Sater i i chet Pele i Neto etl ee hale Mien et fe Tet Loe haere chats Nah ne teak ee be) heel ote ad hel ee ne ee ee ant 2 oa ah ey ire he ee aS eet ae a eg pgm eo Aa rhe Peg oh 5 yl mee 7 He a Fe 4 5 Re oe ee Se ee i. Ta oe x a = ihn ake et tl > a Ss 1 oe WS 4d Weed Choe hon) Gera) eee Pal ” a Ps 5 ~*~ te I 178 THE PAGEANT OF AMERICA THE NEW YORK STATE CAPITOL, ALBANY TuE varied history of the New York state capitol seems to prove that fashion is stronger than any ab- stract love of unity. Com- pleted outside to the top of the second story from the competition drawings in a sort of harsh classic, above it suddenly breaks into Richardsonian Ro- manesque with hints of Néo-Grec, and above all the high metal crested roofsof the French Renais- sanece! Even Richardson himself, who did some =e fi ) 421 © Detreit Photon phic Co. work on it, could not by the charm of his detail redeem its hodge-podge character. Its high, crested roofs and towers, its chimneys, its richly decorated dormer windows belong in one category; the round arched windows of the third floor to another; the French Renaissance pilasters and columns and quoins of the lower portion to still a third. 422 From a Eve eeenne THE STATE CAPITOL, SPRINGFIELD, ILLINOIS In general, however, the classic style with a dome, set by the national capitol, dominated state capitol design. The Illinois state capitol at Springfield, 1868-1888, shows the type; shows, too, how even in such a monu- mental building as this the pettinesses of fashion crept in, as in the curved mansards over the two wings, and the Néo-Grec pinnacles that flank the main portico. The detail is all too small, also, and destroys the monumental effect such a scheme should haveCHAPTER XIV MODERN AMERICAN ARCHITECTURE ODERN industrialism means specialization; it replaces the village car- penter and the town builder with the contractor working with a large organization. A building to-day is the product of a muleitade of eres each furnishing its bit to the general result. This, in conjunction with the machine manu- facture of rae jing eer ies has in time brought about a gradual disappearance of the old-time craftsman; more and more points that were formerly left to him to carry out are now settled in advance by the architect. But specialization has not stopped there. It has joined hands with the tremendous railroad development to eradicate tendencies towards local styles, and, in newly deve loped country, to prevent their emergence. [or specialization has led to standardization: it has led to specialized producing communities which supply materials for all the country. A building anywhere may have Hudson River brick from Haverstraw, limestone from Bedford, Indiana, sandstone from Brier Hill, Ohio, granite from Crotch Island, Maine, steel from Pittsburgh, Pennsylvania, plumbing Aetures trom ‘l'renton, New Jersey, slate from Bangor, Pennsy lvania. Since the basis of local styles is twofold, in local materials and local alin ite, if buildings all over the country draw materials from the same special- ized source, half of the reasons for local styles disappear. So it is that the bank in San Francisco might just as well be in New York, the hotel in Los Angeles just as well in Chicago, the movie theater of Atlanta Just as well in Detroit. A bank « expresses the idea of American banking, the hotel, probably owned by a corpora- tion that has hotels in ten cities, expresses the idea of American hotel life, the movie theater expresses the idea of a nation-wide industry. The result has been that American cities, however distinct in character in earlier days, tend to grow more and more similar. For the industrialized specialization of life gives unity not only to buildings — it colors all material and intellectual life. There has developed, then, from all these sources, a common building ideal that has made the American town or the American city a definite type, easily recognizable wherever it may be located. The illustrations in this ch 1apter attempt to show the development of the type; the quaint colonial village yielding to the trim, prosperous town of the early nineteenth century; then the noisy crow ding, the growing slums, the cobble pave- ments, the brownstone houses, the box designs of the late nineteenth century; finally the sky-scraper, the apartment house, the modern towered outline. For this reason, any consideration of the modern development cannot be a matter for treatment by localities, nor chronologically; it must be a consideration of types. Fora bank in Georgia of 1900 has more to do with a bank in New York in 1920 than it has with a church in Goorin in 1900. The general background for all modern American architec- ture is settled, aitowuns lacalizeds traditions are, with three notable exceptions — the stonework of Pennsylvania, the “bungalow” of the Middle West, the Spanish Mission of southern California — extinct; the history of modern American architecture 1s necessarily a history of the development of specialized building types. For thus have modern industry and modern business, a standardized press aor a standardized educa- tion forced upon us a uniformity such as no other country knows. 179 ’ SRETCEPEN EPPO Se hie hy ta). oat ee Yee! e's a Se tl a Se, ee ry Qe Eh e aN Wot as «BO Se Pat Sd vad , at Hens ple * rs ee 455ENG% ia hod ed ed EE SE OE TT me or cores ee Sitar Tw} er ae eo SEP heh ul eho be ee Se ee Po erent MaLesier Lett thie Nite bal tart ee ; ee ae ait wet ta bos Os ete RC Pee L en sa TEPC t “* es ee ee Cee we hole Fs a7 aS A a ea * ei Sa a to SS ae Cee Faye Sf etc so 50 90 4 7 ea ee et ee tether keLeaicrorolennpob cr APR ows FATE aft sat sor oop >2 TFs ‘ t ay tS A iy ig Et Fe ell da OF rege. ee 4 Fy or. Vast = ow mmm eg Ee PW nde eas tn Le bye eT < won me iz —_ AS Cay ert - ds tie FF 27s - ae f 4 tke > . -. a POT bn pe Ae pt ase ee ees : sf eel, GaN ee ee ae RO ES HE RESET 2 ee i none i3 i = my “rere - Tg eee, Pee, ee ee és peat Se ep erties Pte tek > eat “i? ee Ue _) Se MS ae te +* eer « Te Whe ~~ at Er SS aa a ce ee net to ae it ee = SER th See SEE Sata’ a: et deb — at ’ i ee ae Tis ee ‘ ie : pe “ t= Sh SS — —— se pas 2 ee = : eaten etna Se Se ALS = are Es aent ate cie egy pe Pas oO eoner WY ian tenn erie . a aT 7 a x sald, © a ye . Sp ) AY jt os ~ o 2 G os + th St ee FRA. aa > i> : Je een - : _— re; me a. a 2. ner * i Le io i a f..; a af ity ee i\- Pe a towards the right. NEW YORK ABOUT 1790 A view of lower New York just after the Revolution, 1790, shows crowded city houses lining Broadway, no longer detached but one against the other, with party walls. At the left behind the ship’s rigging is_ the “Gothic” form of the rebuilt Trinity, and in the center the large and monumental mass of McComb’s Government House. Early repub- lican New York is still a city of houses and churches. Pe wales | BA Pa aaa TRS an Nad eel va Sa ery manta, ry pt C a ac. = i a eT oi Loe the et La nal Lge ge het S : wa act alhi we z Pe Pe i m Bite utiles tol en Bone tt ttl Ga hk eo 3 ees Fs ~ a= en a = Cee AWD ol Daa ? er aR at hae a - a reer tn. Y ot N P Ree FT f shy s - . AK mY Pa ; { litte e 2 aoe 4 Aa} eet tr oy Ply Garett s itt} eS I at SSR . . FY rex * ~ | ae oa Ee. fo y + fie o> FB :: . er ’ 4 Ae Rie age. Aa Lu ae) a ~ - bd Sat lek Uo eae hs aa Py ee 40 PA CALS LS : i. 1 PL AGE. lt ae lee APSO aa ne | RD Re Ja eh ae a 4 ~ ae) a yO ar From J. Milbert, Jtinéraire Pittoresque du Fleuve Hudson, Paris, 1828-29 VIEW OF NEW YORK FROM WEEHAWKEN Mripert’s view of New York as seen from Weehawken shows a city whose character is still given principally by houses and churches; a city of gabled roofs and steeples. But it is a true city; crowded shipping at the wharves; crowded buildings behind. St. John’s, until recently standing on Varick Street, is the church farthest north (to the left); St. Paul’s is the highest tower in the central group, Trinity the tower farthest south. ot ped eet . . we A alias ah aed shetiooiatn i ehh be Sele bart Ret aie eae an et i ae nt ee Pi Aha a > Pee SE Shor aes ie re i tae ght - a ty ag SS, By ity Ta ae ms < ; : Ed 2 Fy ph he s =) ~ the a * Sat Ss 4 _ yess m cs eSMODERN AMERICAN ARCHITECTURE 181 a t at: on Whit ‘ sy A ax 1 ' A PANORAMIC VIEW OF NEW YORK, 1834 Here is revealed the beginnings of a change in character. Awnings over the sidewalk shelter numberless shops, flat or low pitched roofs over buildings of several stories are becoming common. Although there is still a : ee ae unity, olastylessmounting real estate values are be- ginning to modify building forms. The city is already embarked on the commer- cial development which = aaaiie sanogemmemm! was later so radically to 1 r yi 3 yh mae Tres Tarp KYsoe ITP 1 2 Ite yore : > fs) ok % gc ats determine its character ; EVs 3 A Aas, ‘Sion i eee —_ Tie ae r ~ ; : . REFER a itl: : IU Oe Begin Serres =o eae Yet St. Paul’s Chapel, in A Ayes ie AE Smee MT A i ini) =the foreground, is still the ‘ t z ’ Ter “4 Dd rel then be ! nyarsiy aliall ( } POEMS a ~ ao be=E were are , erat } fit ents By “ Nfl AIDA ays 4 4} val ? eA } * i] A dominant structure in the scene. A strange contrast imi to the same location to- Xe Hoos ——or ie] «day, with St. Paul’s lost in oes r Pe yes | the midst of towering office wa F “ae \~ =A p41 ° . Ae Ms lele iy buildings, a lovely re- Se : fo J " +} ee ° > 4 \ Le p , - od cm RDS n a <7, = ae end he “ies " : Eel EEE ee ‘ iat: “> : r re d ; ; PAL Ra ot ere 4 hatS > IF) 1 ingform. The unreality and =) ie PRA iS a akep ier) romance of this great mass of ona a = 8 tae ; office buildings furnish per- fs » - my Sper % e Reson el asa Bi, fect, it unconscious, expres- iB REZ : : : | ‘ ce sion to those dreams, and ie ——_. : aN 2 i Aree SE i Dee 4 that vague sentimentality, i tats 7 ay ao ee jm Sa -~which so frequently underlie ie bac s Sa " ) ae that American worship of ; Ds ARiery Bas ees ay Hoe ne eee "eee a | business which made the : 429 From a photograph by Brown Brothers. whole possible. (|. “nese awe 15 =f «Gee Co = > i es = = Se us Sh GS Si: cee “sy ES es Foe eh Sp pee re = a an’ ws Pret E oe * a. their sta Ne hae b a “\ =» . | = mee 2) Rie CaP SES be Be peat aE ATER io Ag a) a Le toe CER airs Reet poe ee Oe 7 oN ee ri ee Pee cet. From a wood engrav Tae in the Chicago Historical Society CHICAGO IN 1845, FROM THE WEST WE are fortunate in possessing illustrations that give a complete story of the growth of several American cities, their phenomenal change from primitive village to modern city. Chicago in 1845 has already grown mightily from the beginnings seen on page 146; church spires vie with masts of the lake shipping, and huge houses with chimneyed gables give already a sense of permanence, of prosperity. hee a ah ahha abe eo a ad ee eee) ee eT eer ee Lt a Ei ed ss T ~ * Sy a2 8 —" = Tate = = , - * 4 eee z Ce biel nail acl mink wa ats ‘ aoe aay ns 430 Ryd « = & Fi; iB 4 a aoe if ee ar ~ egy yt _ ~ a Ci Lah a aN alte be ith ccd een eee oT 431 From a crayon dr: rina in the Chicago Historic: al Society CHICAGO IN 18538 A BIRD’S-EYE view of Chicago in 1853 shows factories and grain elevators along the river, the rapid develop- ment of the checkerboard system of streets, the swift encroachment of the city growth over the surrounding country. But it shows, still, a city dominated by church spires; only in the crowded blocks next the river 1s the “‘modern”’ form beginning to grow noticeable. htatnd ae Ba br htr eet bt Rote itil eter ade ee a et tip Pe ent eee A oe Ay ot Sy ee Se a ue ee Sk Ser Ay ay z , ™ of in Me i, Ti beer a A 2 es bs ee ~ TP RMODERN AMERICAN ARCHITECTURE 183 ry Sc a | | : ) ie | | 5 Lae - sows a, A Pas ‘ 4 . Pia ay Zs arz: 7x , lye) aos leg sto ——t — ] yy? RY mk peep ah we oS SHH cohde Tesaryy SS wit i pat tact 12 eee eillD (pire PE Nien Muay t= ) OEY tay} ont in war Se oe ae Ne Uap d \ : Tt EP wo tos UI irctde by lun m 44 OY MS utes AE UN ie i a t eg bones J 4 AAELS bib hooters LA Peles PAA JA th td te oT Vk jib Sy coed A and) } 13°54 bia ay & re ge Pr ph t ; hues i eetee ° AR Ken 7 ae Wevencenmaaiteenne Iter eee Irom a contemporary lithograph in the Chicago Historical Society, Chicago, Il. MICHIGAN AVENUE, CHICAGO, ABOUT 1860 THE characteristics of the ‘“‘brownstone”’ era are written large over the fine Michi- gan Avenue district by 1860. By that time the mansard roof and the flat roof seem to have eliminated the gable; Chicago has achieved, proudly, urban character. CHICAGO BEFORE THE GREAT FIRE OF 1871 By the time of the great fire of 1871 the change was complete (No. 433). Green- | | 3 ery and trees have for the most part 433 From a contemporary lithograph in the Chicago Historical Society perished, the city spreading out crudely and thoughtlessly into the surrounding country. The play of economic forces uncontrolled has conferred on the city the blessings of trade, population, and the utter dreariness of growing miles of packing-box architecture, relieved here and there by a church spire. Less Sek a ‘ ; i f a ik f si | mS f = ORE f Ages fits: Se 434 From Harper's Weekly, June 23, 1888; after drawing by Charles Graham VIEW OF CHICAGO, 1888 ANOTHER twenty years, and rising population and rising land values have forced the invention of the skeleton frame, piercing through the dull welter of dark and ugly packing-box architecture. Even industrialism, however, begins to seek and find certain vivid arc hitectural e xpressions; but all is still, like the earlier growth, chaotic, thoughtless, inorganic. me | aS ge aT te PAGAN IAFL SS tetas ers we * Poe haa e 7 - Crier RoE pr ath) ‘wr oe a SPER Cs Pers ev yee » fy Le sr yee ob Dery ets tents ee raat ~ at PT een te) tr et oh oe -~_- Se he oe EP anaes Ke, Nee ROR torn ao ce Roe Te tan a ted a i . ee e| ’ . me Sarees = Pion Py Po yee ee ee r aes one Ce i Es | x 4 iz ( > nd eo a ne fa if wien, P Pic50 See. ere Pe Py F < . Se 3 Darl o22905352 54 22425 Sav Geb res We Peel ee, PR Si ee tr yes a ee Per eal nd eo er ae. a or es reo f ur oJ * eae TE wie os - ee a ~ . ~ LAO ye ae Mo ee 5 BTUs * i de Ss eee rT ocrle ae 184. THE PAGEANT OF AMERICA Debut br Dine entire AIRPLANE VIEW OF CHICAGO, 1920 THIs aerial view of the central part of Chicago shows the high building su- Saad oa ed ea behead UL biel iebeted L ee LOONEY Tet aa Pca r oa, preme. A comparison of this view with any of the earlier views shows, too, how the high building cuts light and air from the streets of a city; for, save Michigan Avenue in the fore- ground, built only on one side, not a street is visible, even from this high ee ee ee ee ee ee te = oi Rr te ear mrt hs ae Lael eta tat bere atid ct fl Poh ies etree te tent a ~~ . . : = Ao A= % ~ Pt! ~ a ay brick and stone are |iiqaarbw — al ee late “‘colonial,”’ dis- tinguished for their {@7--=san i angle. eS 435 From a photograph by the United States ; Army Air Service é ~ eb a Pe MARKET Te “m7 \rorn uo STREET, Ba BALTIMORE, A 2 IN THE 1830's is | Bo ; % is A Bautrmor™ street {f Le = ie cornerinthe’thirties [i> Ril = i shows buildings for }j A ied J é a the most part low ail : ie . a eee Sa repre r be and unassuming. oO Se {55 SSAUM Bt : . . = . se fa in ant 2 A Larger buildings of f wc Hl] Gt. Ne ig Sal! fo: ‘ de delicacy, simplicity, VA iat and austere restraint. Be MARKET), 1925 Here is the same view to-day. Science has Boe [ f netted wires across the sky, put tracks on / co , Bb 4 (4% Wem §=streets; commercialism has shot buildings up into the air; individualism has per- mitted each owner to build on his lot as he pleases, without regard to style or size of neighboring structures. Finance has put on the corner its classic temple, a bank; advertising has scrawled immense signs that dwarf any architecture across the naked and unkempt party walls where a building overtops its neighbor. It is all zestful, sharp; expressing economic struggle Us 4 i i Bea i uf! ) Gees) BALTIMORE STREET (FORMERLY - o™ om & = ! i -t ie e;' ie . f ‘f Hs oe Ey i 1 | z 5 iy Sa fi ; Bis es b: hi A ihe an Paik Ae bP: a ie C: 7 Le 2 ber HE ta i Gf F 5 er By..£ Fy, La iy ag HE te A ur a in every line. PTAs Nine Za pe eal ) oa 7 )s aH RS a BS ae) eae oe yee: aug aA a ee re t mit we Pe es Jah y Jo NEA or Wilivhehe ag (i 437 Krom a ye ne by James F, een Co., Baltimore a ae “B= “8 ee ee eee pest Sas a Pies i te Ag 34252 Lech oO ries 7, = P bs r <— 2 a "i 5 es = a = QJ = 7PITTSBURGH IN 1871 ty on a hill that could not be hid even busy furnaces. ‘aS a Cl RGH in 1871 PITTSBU Crowned with the domed of official bu { the rather stuffy and colonnaded dign by the black smoke of its bled houses still ing, its ga Idi 1 ity retain something O y of ante-bellum J levator at the left g r, quiet unit cf Teese f a hint o 1ves grain e But the enormous - days. the future. NTURY ‘\ A TWENTIETH-CE AMA OF j 4 PANOR A H SBURG BITS MODERN a ity , up nll and down irts Vey ee? - hardson 1c From Picturesque America, New York, 1874 yarallel rectangular s fs and Romanesque tower of R | : K | ‘ rd — o“ ae —~ Py — 1 oOo 8 S » — r — 20 oO -_ oo O to "TH Py | 6 5 ARs Kiannceicdaibeiatnatctetata a © ! a A w 5 n fe w | i= 2 — ov } = 5S al iy PY +7 ~~ A > Oo Oo | ps S ——_— _— S jie 2S — + { ge: 5 = 8 | mt ® H pe 4 oes | e a4 D> 8 © _ co Ow \ a —— fa} — fund ~ re } Oe | - AB ik wae rt 4) =a _— » ton = moO — © i << © oO oo — eg 3 = AOS | vib om i mend © eg rey Na | 1, OG Sera ra 7 a = GQ no Ce . —_ QO —_ we 4 — et Teal peer we eee) = 2 > oq 4 a fe ¢ me — o o) —— Coie Ie O ae! | ee Suice r> © V-_-_ ra co, on i \ OQO— _ cs om wn | ; — «4 _—_— ~ = re | _ Y +) ee! rr | —~ oOo .= 5S Sa Ro Sas ora OY ot ~ = wx OF, N's HH ew q _ re at OO a > pa __ OHH FE Oo q 3 ¢¢ a o~ HY oO — oe } -_ _ Te Om est ere 2 no OO as om © ( — C | 2 Ag 0 8 og BS Om een eS GG ° N « — Re wp nS a A .4 COae Ds | ). Soo A a -_* ‘al | O fn — | i od ” Cc o ~ | xo niet O ~~ —_ | ema SHE ov ~ rs SE OD. N Noes BS oO SO ke Og Sey te Te or fm — WY ~ — SO ft | >, OO « = rey Sr sl Ge = + _ ~ _ _ —— — oS db Wg = 6 = — 2 SS ie Sj ZY arn ee = Aa) w ~ ped, Dem Ge OF 9 ' EO ee Sa NK. — r~ © —) jon} = Re FO 0 20 Se ~ AO mx oe en ~ i 4 io _ | co OF Oli et Ss al Sd s6 aot |e es AMERICAN ARCHITECTURE 185 pe — oN —_—* Pt Corn Ne et Pir ei tit) i ine Pr tnt 1.] y oath tan ta * TL hr ee 2 i ice . Peat Bet arta] a as Cu | 5 5 PA ator Tot a wal e peat ue Saw re pr = eo Spel Jr Klee 2 Presa ata a eee ewe ew PUT Pee ms TROP a Tro a esa el eat a} Tart ia CS ae TA eee ee ee rt r Pas Yee ae ay =- a i PPA) eed ee : J oo 3 as Efe lta] ile PAT) —< ee cae — 4 * wu . all a i as eee ’ See 325 2%: ae ee Pre eee ge eh t ee eA Se ee ial tes Kh MBS 42H L Cate Pe GSea) a THE PAGEANT OF AMERICA - nee bred Weck ter elie te ey ths : Bi Rbeek adm AN 12 te rtee el Dt eo) ‘ photograph by the ir Service © Pa 441 Birmingham, Alabama. From United States Army > 440 Raleigh, North Carolina. From a photograph by the United States Army Air Service Oe ee ee ee ee ey — Pat ar aera ore Cah Vitae lanl hd latent tea eeeredeetnbee ll cotta Lil oe or Let ae kt 2 a A eR = oa e Bee ret ne iat ets ube | deh eed oe et ee bere eit phd tie tae td . he ee err . ee ty S P es ny rol TYPICAL AMERICAN CITIES AIRPLANE views of Raleigh, N. C., Birmingham, Ala., Baltimore, Md., and Cleveland, Ohio, are here grouped how the unity that modern life has forced on American cities despite local conditions and tradi- (p. 182) are but additional evidence. Everywhere in the together to s tions. The views of New York (p. 180) and Chicago cities it is the tall building, and especially the office building, just as in villages it is the bank which dominates, shooting up out of the dull mediocrity of the earlier buildings. A glance at any of these views would show it to be an American city, but without personal acquaintance who could tell whether in the North, South, East, or West, on plain or mountain, by sea or far inland? And all show, too, the fallacy of one-fronted high buildings, with the street front only designed, the others, often in reality more important, left gaunt and harsh. All show the terrific expanses of chaotic, wasted roof-surfaces, disfigured with scuttles and tanks; and all show how it is chance that governs the development, and chance in the placing of buildings so insistent as sky-scrapers does not lead to unity of effect. But the Cleveland picture (No. 443) shows more, for in it is incorporated the beginning of a dream; the attempt to bring out of the chaos now, at great expense, a beauty and an order which could have been so much more cheaply and easily obtained at the beginning. The two large buildings at the top of the Cleveland view are to flank the beginning of a great esplanade to reach back to the square building in the center, and to be bordered by monumental and official buildings. The first of these, a great civic auditorium, is shown under construction. Little by little the buildings in the esplanade area are being condemned and removed. The Cleveland view is also interesting as showing over a large area per- haps the most helter-skelter character of them all. It is this condition of helter-skelter development — so obviously disastrous in so many American cities — that is one important factor in forcing the modern increas- ing adoption of municipal zoning ordinances. A certain amount of permanence in the character of a locality is a necessity for the healthy growth of a city. Zoning a city is an attempt to secure this permanence. fi £ ¢ 7 > Pt fe 7! ie oe (ae id . eee i, Oey oe : . io a The I i: #3 Bic @, baa: 3 ie B; ee ae } ! Ae Air Bi’ Ee | Pau J ee aa ry af el z ss . — & b tari fecal ic OL a rer net td Seis SRST AT AT Ten em eam aalsemaymnir - A a . . - A a k a = = rit} thie sean tute iit rs WETe iets cee ee tcur evar snare, pepaetreeeaae : po aaa pe ee a pa ceveaaaee severe eeateee Sailer dr il Re lil ta ak ale etal dal Yolen od tha he ett) —. tae a Se . oT Ae Sa a i J ~ _ etd — }: bb Ss, zo i ‘ ‘ i RL ie E eregan ; yc ne be ele ae Ses “i ete 7 . yy ys . y He OM Ry cee pee 442 Baltimore, Maryland. From a photograph by the United States Army Air Service O 443 Cleveland, Ohio. From a photograph by the United States Army Air Service Tae to ee : ad toe , nei Ve ata cated etter eS ett Erte Ete med Uh ek he ee ihe Ske Sy RES See ole he = a. we * = ~- = Ff A ey oemae i eo PPECRE DE iii ttt rbot wee jaa OC oD es vy Fa > a — Cy ae) p— @ os Z a ©) oy pe Re = @ =, Gat ow es 187 ro _ ares 7ivG oe =“ OTP rm rr ertrt ie tT hoeu rh ohne Gir, NS, WWI orsheke. RRS ie SAAS " sic * ex ont at) Weel eed C: rl A ond o 5 a Py saa ey ta = aw “See ‘ cae ~ és > SUT ne HOt ert . ee Sy PEP l tale md . fees Sear Pod roe Pay ey a fe wv her owek a = Dee a - Oh et ad ren Dn dee an P Me en nd ane a ee Te oS os Pai el ee 8 eo Py = tien eo eer eed oer a Foe a5 2 ee Py ad os 7 a a a a ee i ee ee ae ee ~ oo 7 ) AE o 9 ee Pe 7 i] | a pete ee ag PRE TTA ey eh nae ee pe amet ad . i able Pie b 1 eae ans ; i s. "7 L : i a ee oe 445 Study by Hugh Ferriss of Maximum Mass possible upon a City Block under the New York Zoning Law Pes yutceaws Py,be ink ber et ihe TUR Tt y ciao een bia beter] Sh atheist tao Ld | “le rs . rs . Fy “ aay Visat . dee S i tie hag hana Peo itol Vinee bein bd 4 tee A ° ae S Pi _ a Se rn pista a paar eteantd ae ~— - n «~ « if ‘: 190 THE PAGEANT OF AMERICA mn ee iS der hi Mee cael tite * 446 D. H. Burnham, architect THE ILLINOIS TRUST AND SAVINGS BANK, CHICAGO Tue Illinois Trust and Savings Bank reveals the dignity and power that the full flowering of the classic tradition for bank design often secures. It is genuinely Roman in its simple grandeur and large scale. THE COLUMBIA TRUST COMPANY BUILDING, NEW YORK Iv is difficult to say who first adopted the pseudo-temple scheme for the modern bank. Certainly one of the earliest of the really finished examples in America was the Columbia Trust Company’s building (No. 447) (built for the Knickerbocker Trust Company). Frankly denying story divisions by clever use of metal and glass, it obtained thereby — perhaps illogically, but certainly with power —a commanding dignity of scale, to which deep shadows and the beautifully designed and modeled capitals and frieze add their consistent i 4 Ee it arte =) os F ' < ‘ j TS fe ese Roman notes. It has since been much remodeled. x - = ee : ts t a if # ‘a 4 ane rYs 7 1a vere ip o a i met . dele 4 3 f of | Fa ty ‘co on 446 TP Tt i. 7 a fa 40 . eat Te - * = a a : an yf oar y, oi + . i) » OT os | 1B) bop eem Naif =: du Jhiddcd bel mm Ni a) ow _——__———¥ >. 449 Alfred C. Bossom, architect THE CHARLOTTE, NORTH CAROLINA, i OR hea nor ee NATIONAL BANK 450 Alfred C. Bossom, architect In many a small town scattered over the length of the country the “Bank” is the one building to show any careful design or richness of material and execu- tion. Even in many larger towns it is the most dignified, largest in scale, most monumental. Contrast, for instance, the simplicity and beautiful detail of this National Bank at Charlotte (No. 450), with the undesigned, slipshod, meretricious “stores” and ‘‘apartments”’ and “‘blocks”’ that line too many of our town and village main streets. Even the official buildings of the average town — courthouses, the post office, the city hall — are inferior to its banks in design, in richness and permanence of materials, frequently even in “workability.” It is the bank that sets the architectural standard of the town; and even that standard is too often based on slavish copying of past styles. i EP eh | ee THE COSMOPOLITAN STATE BANK, CHICAGO Even the innately conservative force of established money power as expressed in the banks cannot prevent various protests against the temple form for bank use. One such is shown here in the Cosmopolitan State Bank build- ing, Chicago. It shows a type generally Georgian in character, * Serer ee Te i eet Ps r. | eee : 4 i though Roman aiid Renaissance elements are present. It depends for its effect upon the simple brick and stone expression of the banking hall within. 451 Richard Schmidt, Garden and Martin, architects EET CEE EE PEBONE Rae ba Tels DADA NRPS te Rete ys rts ERE OSS vy er tt =~ yet Shee CRE ses Leer ioer leet aire ot tg eta rth wok cee r= - rt CT AN alah as ey = ? < ie See = yo SURE ne ES tay aes ES yr) Pa kee ee Oe PA Oe Pr ee co « “a A a A 98 I 4 4 4 ar ‘a aN ss iS Por Sea ters Cte ee he ceed Pa sore a 5 “ie Pad Tehaipe = oat = os me tee Hae a ar _-s- Soe SE YS ee PN eek Cth eel dad ey ona a pi Sag east FSe8- Sets Ree te er re ee ee ey fe lod ad J pe ed - ie ’ . "78745 et So ee =e ee Paro id Pe A 3 Ge 4a = ray — Oe ee 1 ee : ‘3 Sea 2 ee ee ii ss ie he, of . os se et ce ee o “ oC nS : — ars A ee ek Oe aiF he et ee leh tt tt et ee ¥ a Dh len I~ Ary We, ae A Ob oF) ee Grn es Fa — are ~ re eh oT Qs, lh lhe een aaa anare nee atas Reems thes o Seat thee Dicheh oed on ba neh head dk ctethee ~ rrr = A Lat Rhee ore OE f wd a . ee a eo Ties bh ge) peat rpahtt Pere _ ileal a ancl a tn Se el te el eer Nee heed hte hee a eee tk eT Te eee ten a at tt a a the er en att eee el el he De ets A A Se BG oe a. im P ee Phe oe es P ¥ . 5 = thos A = Pe 2 i ta i Ff | aeed iy 4 bi: ae Us fj E Y ie a ie ~ a = ©. — - mele beh i he hata lt hal Nee ate Dele Peale ath Wate in ed Bees Yo tet shee ttle Saal She tei oe teat bees Deel Merlin Nee Ieee tee Pe he te he S eae tn . os gt ota aay $a = be Reta wt ee a tk : Lae y ; : . Sp eh el She Se ee “— = ‘. A 4G ra en re ee ee he me = Sy eS Nd Koken ake how) el | ray as a SI me «+ 452 Louis H. Sullivan, architect BANKING ROOM OF THE GUARANTY TRUST COMPANY, NEW YORK THE contrast of the richness of most banking in- teriors to the poverty and crowded meanness of some commercial, domestic, or public buildings is almost appalling. Very nearly the climax of modern classical richness is seen in the banking room of the Guaranty Trust Company. Here the rich Corinthian forms are used with perfect mastery of proportion, scale, and the placing of ornament; and all the fixtures, chan- deliers, screens, vestibules, window gratings, and the pavement itself are blended into. one impressive creation that-is almost arrogant in its assertion of power and luxury. Here is the logical extreme of the temple idea; here is the American Temple — a bank. — Ys » . rae -_ = a] 4 1 mm 4 <3 4 - 1 > . : b ‘ a> B | F a> ’ & Pe 4- ( e —— ee L ¥ # he . 1 ae ier “es ' ~ a ; TPT x . leer om 7 ; rap < in y nse - ‘ | Sul, Buckler and Fenhagen, architects a . nine : , 4 — ‘ . i oe 7 i] j ea 192 THE PAGEANT OF AMERICA THE PEOPLE’S SAVINGS AND LOAN ASSOCIATION BUILDING, SYDNEY, OHIO A mMuciH more emphatic protest against the whole panoply of the temple forms and classic tradition Is shown in No. 452. Obviously an attempt to express the bank function not by a temple to enshrine finance, but by a form reminiscent of the safe or strong-box, it has distinction and power. As a matter of logic, the great arch over the little door, and the “applied” character of the window decorations seem as non-functional as _ classic columns and moldings. ae es ¥ a oyeery £ _ ,, * ~ a ¥ pel aaa eit thd EO ea Da a Sa ie a eed ar ~ my a - a is io 7 | Sr ~ — a. if a ZL £ A A S - j A ’ ~ /, */ os - . = « a = be j; - 3 = ’ ” > * OT fe ’ & eee ooo —_—- x fe FZ Ss or eek . . — ee - tee f. Hie Pvc iY A Hs a a a ele . = f = mv’ pei - 0 b “ * 7 aes \ ns batho 5 a - As yee BY - , 7 . : if + ‘ 4 ¢ , \ , Lace : é PS ~ - + ad ~ a “ ns e ¢ » Wad Sa p , + NS P ( — ; i i; ai * ty fs a Ltt | Fala a ‘so Pi Fam ’ . ~ S ry -'- al r wi “ey se oT et ae ee . om, te i by 4 i Ci F } ae a ry a 4 Ce J i] 4 ‘ i os 4 , | it 1 ' i] | i i ; i } : | ® ( i pt 4 J eat , r a “ e > ae Vigne D f ‘ — - 453 York and Sawyer, architects; photograph. by A. B. Bogart THE FEDERAL RESERVE BANK, RICHMOND Tue Federal Reserve banks are of a different order; combining office building, bank, and public building functions. ‘The most distinctive is the Richmond building (No. 454). Like that of the Columbia Trust Company (No. 447), it makes bold use of a monumental order of several stories. Its reserved and austere lower portion gives it a somewhat recondite and secretive expression; it suggests hidden mysteries, veiled arcana; but the picturesqueness of its simple mass and its power give it an element of true beauty.BANKS AND BUSINESS BUILDINGS 193 THE HARTFORD FIRE INSURANCE COMPANY BUILDING, HARTFORD Ir banks seem so frequently our modern American temples, our office buildings seem often to have an almost equal public and monumental character. Such, for instance, is the Hartford Fire Insurance Company building (No. 455). Size, material, restraint, the entrance colonnade, the dome above, combine to make this seem some great monument. Yet propor- tion, delicacy of detail, and large simplicity in design are always public property; the building is an \ F Ms Bs ornament to its city. —_— ss ah ee Se eee) (i Hai sal Narre Ei tT ma) oo ‘ ee eS Ne . a | eal | eee ee < ee ep B aA I ee W oe Wei One ly ol ay =\« ' 7 NA, RFT cane . wants . ‘ a —r ase elmira as Po man MW Mr mt ATT wi Rin nn Bile ay eae ff ce Seamed 7) 111 nny mie iN H 18: 3 i Oh aT Lote gre TIT I ce bh hay me ti a |r rT EA Je Sheetet¥ Ga aS Vira 1 Aen tae 4S 7 wed “ey + ee wee ip he Se ea Ua Ld oe! Debs np 4 + ae 5 | pth Heh aa en i | ! ea ae

HUI ay ian ao uin 8 ? mn it UR yet MWhiny mt re a it} Wi it , A Mh aay Oty MI r Aner. a ee : ie Re. AI: ne a ee had B ae % 4 Gale Om ya th ae He Der ee ene aan i Sy tee oe Sy 2 460 N. LeBrun and Sons, architects; © photograph by Irving Underhill THE RAILWAY EXCHANGE BUILDING, CHICAGO Tue later Chicago sky-scrapers, particularly those of the first decade of the twentieth century, are often deplorably thin; stability was there, of course, but no appearance of stability. The Railway Exchange building, built in 1903, is typical of this class of high buildings. It is a great rectangular box, filled so closely with ranked windows as to seem a work rather of cardboard than of steel and masonry; its sta- bility is engineering rather than architectural; it is a work of efficiency rather than of fine art. ARR ATEN ii =f! ! \ \oa iW | 7 Alyse ali) al = rt mr th 7 og al ie Ta — oe hl ee - 8 ; — = Poet M mk I J 7 7 per Bohs se CA -- fe - , 7 = SK r D e A ‘ - C apes us = th jaeery wath. | a re e ’ eS ee ed Be {we a ae ra A . < 3 ig pre yr a | eo niet 6a, Fa oe r it oS eos + Ys Pa): ‘ —— = We The , } 4 5 |r ae | . * e a * J ay ye —— Sy \ 7 Ya “33 7 = a ee rt a. : é ‘ s a AE aS ea was wy} ae St ‘x ‘ X b P . " q | * i Ah hee. iv] : . | re », a) BE i ee \ . a" >) 7 7 at vi a be OO ¥ ' P a . a ie | , . % e A } ) . or : ai nets kt EY iS io SA 459 Ernest Flagg, architect; © photograph by Irving Underhill ~ 1 b - 7 a " a hs / 2 b ie * At Le ak a Cal — a THE METROPOLITAN TOWER, NEW YORK THe tower of the Metropolitan Life Insurance Company’s building (No. 460) is one that is growing old gracefully; gleaming in the sun, gray in the dusk, or with its spire veiled in the wind-blown cloud fringes, the beauty of its silhouette and proportion, the bold simplicity of its shaft, the excellence of its scale, and its chimes and lights that flash the hour, have true poetry in them; they silence, somehow, all the criticisms of logicians, all accusa- tions of plagiarism from the Italian Renaissance.Lao! CLEP Ee ePer ee DE = aaa FER CLE Oe UR Te fe £ ay z oI BANKS AND BUSINESS BUILDINGS 195 Tr Serer rere rer ir thet hott cis THE MUNICIPAL BUILDING, NEW YORK THE Municipal building (No. 461) combines with the simpler treatment of a great flat-roofed building the rich lightness of a central tower, a massive screen colonnade and a triumphal arch connecting the two wings at the base. Adhering closely in detail to Roman and Renaissance forms, it is, nevertheless, in its simply and effectively grouped ranks of windows, in its emphasis on vertical lines, and in its whole conception and composition, truly an American building, whose beauty, despite classic columns and entablature, is a beauty of present day New York. a Seg eoinwiakns 4 TS _ Hesani Peal = i wh peony VaassaNhts eet tl bald Pr sy ee oe ae PP es Rs PNR UT ey tet at af ee eee ee er atte: Oe fe ee a) Pee Py ee a * ee 461 McKim, Mead and White, architects ul THE CHICAGO TRADITION IN HIGH BUILDINGS Cuicaco tradition has always shown a tendency . vt sa bs ea Se eer ‘ rei [pe coh re et et mene GE EE IE EE ike ; ‘ome = on | ans ea a EE EE EE sae sm i Clee teed “4 Romanesque, the other (right) in a most original and ee et 2 & * SSS ee fl fs ae Fst modern Gothic, reveal this trend. Both, too, have BEER ‘EE-EE i towards a free and non-classical treatment of the as Ele ‘EE ik high building. ‘These two, the Monroe building and x E{ Gs : ‘ NT r¢) . ze E E ne the University Club (No. 462), one (left) in a modified a E = th ; e ales eed ea Ra le TT Wl eel at aml eu ea the tremendous artistic advantage of being buildings Pima) 3 Ss oS adequately and obviously roofed, not mere square E bat : - ” ’ ‘ ~ ~~ & ' | — I l: . 7 ites 7 ‘ ‘ ne heed oa ay ry eee | o oe , I } i iSESRRRS boxes of masonry and glass. = : me ; a ' 7 Ln ‘3 3 "ks re “aad et poset pat ce iy a. 7 = a Ot | ie cee | a ss & a2 eT oe as hf = : : 4 4 4 a a. oe 4 Bn aR eer eae Toe eRe ee Ra A a ee yt Far ste (ees SETA Far Pen eat roy ee THE CUNARD BUILDING, NEW YORK One of the most monumental and lavish of recent Oar See SJ a “ New York high buildings, in which there is a similar attempt to gain effects by mass composition, is the Cunard building, whose piled stone facade, with its re 5 : great crag-like Italian-palace-arched basement, domi- at nates lower Broadway. Its four lower stories form mem Ge | a self-contained separate motif in themselves, and fi the relation of this to the great shaft above might, perhaps, be made more definite. This is a difficulty Sih ee San. te: * A % 5 “TJ . ay o aie ea ee ee ee oa. me ies Sink abba Le Aw Wet De aw Seb eu we eee, that is bound to arise in this type of treatment, and 5 e- al r. a rs reveals the essential incongruity of this monumental Renaissance character with the necessities of a modern J ‘ ss 34 f = Soe See ni hg ee eee. ee ee office building. Newer, freer forms avoid this mistake. But in scale and beauty of detail the Cunard building : 463 B. W. Morris, architect; Carrére and Hastings, consulting is worthy of study. architects ae a hs LO cd 4 yeau? ns fe‘gz | % 196 THE PAGEANT OF AMERICA tet ok her mere belo td a7 Srey er * Oat wpe” ohn: mit ete = eee f THE GREAT HALL OF THE CUNARD OFFICES THE most notable feature of the Cunard building is the great hall of the Cunard offices, where marble and bronze, rich relief and brilliant color serve to make a whole delicate in detail and gorgeous in subdued richness of color. The ceiling decorations are by Ezra Winter, with decorative wall maps by Barry Faulkner. To some eyes there is too sudden a oye as SD break at the cornice line between the absolute sim- er alae . be mad par healt kd bee arl 4 Don ahmed a Deh ia bebe hah hed et REY oe . Y pF petite oh D : be e Fe = . Bat at Pe ieee, > é - - “ - plicity of the marble wall below and the rich vaulting above. That is a detail: the whole is a delight and Ayaan aa : -~ 2 a refreshing piece of loveliness. er ee eee en ee wg te tae Cee se 5 ee > * 4 : Pee ee iz Sensi r Ae : ad OG car } FET URE IARI: ey pth . he ere tr he ; ‘ © J Me i en ee f er) | ae ~. 4 Oo Fr +a tA TSS a 7? t 4G . y - m 2 ee ete cee - Q 7 & # - £ an el oj it 1 ee we! ae a te. oi 5 fi % ae Mi 8 6 Osi rs te ws as i Go, ae (i ee ir q * 464 3B. W. Morris, architect; Carrére and Hastings, consulting architects THE LIGGETT BUILDING, NEW YORK New York was the pioneer city in the United States oe pe pi to adopt zoning regulations, limiting, among other Rares ri things, the height of buildings. The particular type a Tad of regulation adopted has revolutionized high building design by necessitating set-backs, thereby making SMe RM TCR Se RRR YU pee ; “FE. mass composition of paramount importance, and |@ie2e bringing shadows back into city architecture. A [Beimye? rE LE simple type of set-back building constructed under kt, pre ee these regulations is the Liggett building (No. 465). emi Fo ik a Verticality, simplicity of detail, careful mass composi- egg: FOR he i . . e e ? ; fi ai ia F tion are the chief elements in its beauty. ki aa TE , Pars “RK [eed Tin aw Ta adler) -- ed oN +e mM ae ~ S Tue Bush Terminal building (No. 466) strikes at the heart of modern sky-scraper design. It accepts the problem in its entirety, even to the bare party walls, and makes its effect by using precisely the necessary elements: extreme verticality to express the steel structure, and a polychrome brick patterning of the party walls to make them contribute to the tower-like effect of the whole. At night, when flood lights set the delicate detail of the upper portions 5 : Cae mee em ete a ’ : o Do aE TALS yrs , Per 465 Carrére and Hastings, and R. H. Shreve, architects ‘ eae THE BUSH TERMINAL BUILDING, pea Se : Agee: NEW YORK FI et) =< - hebolet Manes hadi ern Niche ee cel hele hea hake ee ben WT ee | hatch Dats ne thet te tel etn Nadel a hind et) he ae tron ATT rte 5 “Fe amy Sa ta ee By ay Lal a ate © “ a ~_ 4 e A ce eae ety - ae 5 e% = ae . «es a é a . “ a A ” JP) ae a het i Tay a - { = Pe fese, GN ht RRC ESE MA ete agleam against the black sky, there arises the romance i med amuRmEeTCLENVAalizes{Gilicsoy coon oe of a new American beauty. ONS Resin iia td eee tee tt Pre + gg ~*~ ape “Te - IBANKS AND BUSINESS BUILDINGS 197 at cm’ Pe — mr a. $3" a : — a —" = ee St . . - | = ~~ at tal Pal et 3 Pte + "Ue ‘ Pen Fe TC a ee 467 Cass Gilbert, architect; photograph by Wurts Brothers THE AMERICAN RADIATOR COMPANY BUILDING, NEW YORK A new freedom has come over high building design in the last few years. Ever more daring experi- ments in form, in color, in texture are being attempted. Typical of these is the American Radiator Company building (No. 468), which so frankly develops the tower idea with a silhouette grace- ful and strong, and which clothes the steel with black brick, that the gold-leaf ornament may stand out by contrast. It is the most daring experiment in color in modern buildings yet made in America. THE WOOLWORTH BUILDING, NEW YORK To many people this building (No. 467) will always be the sky- scraper par excellence, because it is the highest. The delicacy of its Gothic detail is a result of the use of terra cotta, here treated with beautiful appreciation of its limita- tions and possibilities. Certainly the bold vitality of the strong up- shooting quality combines with grace and beauty of detail to create a beauty new, despite its Gothic detail, and truly American in its romanticism. : wy Ai) . ~T} saa ‘oe | { f . i fi 4 att 4 a . ‘ - t ?F ae . ‘ MAR Bie ap eat tana; Fey a . * { 9 Je AAG ay WIA ee oy f i y - . x ee, f Wf he) if ; C (Wi, av . i. A ; / hy “fave ae 00 the ARES } q ; Sah aG k ] en 4 ae he) |? tN = : 0 4 , ae WRAL Ae a pyle | rr ml it r t —| al Bac at ed at fy + =a TA- Aa a ec) ae L = y \ ~ hs i: | rac Tie 7 > -— - ry fr K fox sah haus sh tt ils ot oe eee Nay hie 4 f . ~ Pet re ee oe ; » REE 468 Raymond Hood, architect; photograph of the architect's rendering — ; ee: bee a a 7 * he — . Ch Let ae Tk 3 5 “Lie 34 ate =~ > et : , - — ~ irae. r 7 ‘ J — 7 - x =. “ a ae catered —— = = a ? mS ee ak 1. ee: eo 7 = A a “~" = - al ib Sete a te ~ SES o + =O - = « , --S-—t~ - u ” +e — “ F ye . _ A - —e mes ie Ny “ , we PM. - ‘ — Arty Ss . Teeter ~~ A pst, A an : S 3 , Ps on ae whe et - a+ a es a . “4 os . ' Pe f io = r « ee - pond o : a “ ~ e . wt «. oe P e = af . e. ~ ns . - a - apy eg sy - i mee a PRT At AGS — a oF tie — =~ a ~ ; ¢ rt ai i> a Loy, Aes E - - ey eS ok ee ee 5 oS ah oars on to = “7 +" _2 B ee ene ipa Are} | Lh Cited | ie oe] a Ds) “a ‘ hi e : ‘ ax} Poneto so-so Taras Se ee aS aa eg a) ax oe ee TE Os 2G oe So 0 Po eT ye eM oe, eee Pere ee ee ee Pe be ee et id) ey “sud a FIPS Pde CoS ee gag ae) a ee) ee - 7.5 Tepe Ee Pre Pe Ee DE oe RST EDEE (Cpr hte fe as i) B : ' = =] ogti« - cea a we ee es wT so aes Pepe ee Ma Pe ee i te ca a Oar Etre ir thet Pk rok a “5 irks rs 4 vy eT ee . r Pn) P 5 = See 5 y pat Ss aw er ST ein Ltr bete ert ok tori att “ 2 io eee yee Nh Rees Peete ts oe Sy ee = au oy ’ -~ hd Cn J Sh - oe c=) cy ¥ Tey Ere p Te eee Wey te Ks a ae ts et | a Te 7) * > ah) Pye 1 , ‘A a " o . 7 a au o > A wr Sted kt en a he Te S Pt a a ie oe “ es i bes ie iu rh a odeaie > ve Diet iel ber etek atom in tts * - Raye ee . Shes Senta Bs ines atc bet erate A aremian abet d a Pl tebe ethic be en ol ba La) ar deh chia ee - a Ps a a) 5 ~~ ay = oe: = y S E : “8 : Fit Bea : - + Se ts ie ape ae a * haar ~ . - oom ae ela bie ee ets te tet er cet Teton erenee feet ee Kien i Prk kt 4 - roa fy - es oy Ao a ako had = Co ee ae Ck Se ‘i oJ r F Sanaa han re. o - . . se Sele ata tae hie hen Wh Deaths Tie eto nem tenis toe a ex ce tee ot cn sch seg an I ee ee ete ta Ppa bes at a a’ fa Suen 4a 5 A “ - nt ont a Sy Sensamet ely wa =i bE bs Lhe Ste lar ahd Tea FOS Te Oe ee es i ethan ate Veni et on beet tel itl Nadel a teed es) Cie " ~ 2 be ad — -_ a PINS Keehel aiehan tn abe eet Te Lah ee Ries Ooze SS 2 teas 2 Spee 198 (2 a “ Tr, i ‘ ~~ eB ‘7 cf’ « ec : oe 2 Sy PP — 7 CS eee. = c ~ Pe ie : Pe Prise ~ re - Pr il - *. Lite my, ‘ Pe rr e.. br it = - ae OEP ry 5 ck 7 ve - 7 fr — re Bey PIED iPr tire RF rr Pr pm Se ein rr fe : we | - r~ i ceten = {tb id rr & rr b. tbe ' rr S la - . t < c ye rr fe ee ag i ‘r tC * piFr iy Pe. er rr win Fi 1S i ; : rr Ae ike r 4 . r 7 rr oe i be oe Ets ff ; rp F re em 44! “= } : Pre Hie I | Pr ivr ier ere | t a { tf } -— Er ; . | Pr a i et ie > < . } ie : $0 @al dai da eae : LP Ae: [Fi Pies Ree tha roi 3 | 4 i t9 (ke vz erie it Ree wee } i= | ' bi Br E ' uP ae ; oi PT Al [ART at ati | ara afd aFs 4 ¥ - po Teen RA TT Rt pe re fe Pi : r ti ~ d is mr ey Re i ! ‘ wT } \ , Jeo ee >> ~ tee ay | rt re = ‘ . te ef ee ree ee ' 470 Winning design by John M. Howells and Raymond Hood. From a photograph of the architects’ model THE second prize (No. 471) aban- dons the historical precedent of the Howells-Hood design. Its detail is purely modern, non-stylistic. Its emphasis on the vertical lines is daringly bold, and its silhouette of set-backs and breaks interesting, powerful, and well proportioned. It lacks the definite crowning rich- ness of the first-prize design, but In some ways is more significant and realizes more of the undis- covered possibilities of sky-scraper design. Never have the vertical ele- ments that steel construction makes possible received a finer or more inspiring expression than in this soaring and beautifully executed conception, whose simple, straight- forward honesty is all too rare. THE PAGEANT OF AMERICA 1922 COMPETITION THE CHICAGO TRIBUNE BUILDING THE competition held in 1922 for the new building for the Chicago Tribune was a landmark in Ameri- can architecture. Aside from many variously impossible pieces of fan- tastic imagination, there were re- ceived designs showing almost every type of modern high building. The winning design is generally of modern Gothic, with verticals em- phasized, somewhat similar in this respect to the Woolworth building (No. 467). Its rich and varied crowning motif, however, reveals that study of mass composition and silhouette which has been pointed out as a result of zoning ordinances. One of the best features of the de- sign is its use — and expression — of the power of steel construction to allow many and large windows. — : A oie. & i a Va) > ' abe od y ‘ Am as eae F a F *"~ ~ - < . a) r Ce oe : : ti +7 nee. . Perera dy a Se ee a. 4 = i alls Ye ee Te i" cst oh aa L SENG Tice eater Sete ae + t , ; gas. 4s i aft ) 5 4 P 5 " fl - 7 ie 14 ae 4 a F ' : at | : “ ~ 7 a al s . a | He i. } - a 4 ~ bh ee PY "nl ate ’ j n 4 of 4 ‘ ea 4 . “ Sey L ._ ? ‘ 4 i “! ; 2 - § Ps [ ; r YS v y 4 — h oP eS aa 7 4 : s OG i - I «4 ; om . M. ° ~! . Rx, 2 i » a pi oi au n a‘. P 5 ta a ow » ee en ee ee ae? oe ee ee o = = ae so 7 —=— 1 Second prize, Eliel Saarinen; Wallace D. Grenman, associated. From a photograph of the architects’ rendering 472 Honorable mention, Bertram Grosvenor Goodhue. From a photograph of the archi- tect's rendering Tue design of Bertram G. Good- hue (No. 472), which won honorable mention in the competition, shows still another type of treatment; an effort to forget all detail and build a great composition of balanced, flat, crag-like masses. Here, too, the detail is free, and interesting possibilities in polychrome surface treatments are hinted at. Like the second-prize design it makes much of the change from rectangular plan to cross plan and back again. Goodhue was evidently less inter- ested in the verticality implicit in sky-scraper design than in the op- portunity the ‘“‘set-back” idea fur- nished for developing conceptions that are romantic, lovely, endowed almost with a dream quality.Par 4) oe eet Ss 2 a vr eT eP ee Pree een Pini ich both < “ BANKS AND BUSINESS BUILDINGS 199 Ce Pe Pee Cpe tr ret THE HALLIDIE BUILDING, SAN FRANCISCO, CALIFORNIA ELEMENTS of great importance in modern commercial buildings are metal and glass. Few attempts have been made as ie ir estar in this : country to make de- | signs stressing these elements. Onesuch S xX TEPER ESE tert) tite i ype . 7 meq emg eg fig ft, \ ier — eh rk building, however, the Hallidie building in San Francisco A Seen oa - ay 5 mg pg Se v/a & 1 |) fines mag / ‘my fy ff ie, Lz Z = waxy fig ff f (No. 473), reveals the delightful POssi- bilities of this type of ag quien STEN RS ERI ewe my m7 me i] Em & ang aig oy may: ‘ ha hes cer a design — glittering, & iii by mere | = delicate, sunny, vivid. a or as me —_ ot mine =e Th = — . Ne i ! ai ery yh fi 4 a eke : Big =i a Baas 405 ¥ ¥ oe Wry <7 lad i ry Sort et eRe eee a rs ote He PF eES FE Teas an TT x A MODERN DEPARTMENT STORE, NEW YORK DEPARTMENT-STORE design has followed the general trend towards simpler, more monumental forms. The Lord and Taylor building in New York (No. 474) shows the feeling of restraint, elegance, and richness often sought. Show windows are made an integral part of the whole design; there is no appearance, so frequent in some buildings, of heavy masonry being carried on sheets of glass. The great entrance arch, the crowning colonnade, and the carefully designed cornice go to make a whole whose dis- tinction is in itself an outstanding feature. is Deere UN Re sa HOF ee Tt bow oa ~ ae es 473 Willis Polk and Company, architects “car &e ee ayy A74 Starrett and Van V jee architects a i: Bs ae} ] ad soe | ‘ Hi ee ei 5} A Ad 3 - a ae THE ALEXANDER BUILDING, NEW YORK Tue problem of shop-front design for smaller shops is of very different type. The most usual and successful scheme is to treat shop window and door together in one large frame enriched or “ped el OES eee eet oe Poe ee Tn with marble or the delicacy of wrought bronze. In the Alexander building (No. 475), sgraffito of Italian Renais- sance character is used to give re = jE Pk a a quiet richness and delicacy é = 305 Sal 3 fc oy ao AG re Ae FNC PN Pee ed tn ey that make even a narrow nl a building distinctive and beau- * a” + 1575 Pee oe tet oe Re ete Heh eee at Per ty eee ee) TO lo tiful, so that it brings a welcome touch of color into - w the. too usual gray of the modern city street. - er er ered oe a A STUDY IN SHOW WASHINGTON per (Ne Fs me ‘ue store building on Con- |guamialaiaal eee rae Tue store building Dy FTP oy necticut Avenue, Washing- 47. ton (No. 476), shows a dif- ferent working out of the same general type. The differentiation yet —— 2 ‘ ~ rs Wek 5 Pi: 5 5730, 3S 2 " au Oe beled ee ie ea George Ray, architect . aes ~~ el idee = o i aS a ee Be na vuriceve a a) ey unitv of the two show windows on the first and second floors is especially noteworthy, fitting so well into the simple stucco facade. 475 Carrére and Hastings, architects Sie Po eS PE set Oe Oe ee . eetb hob abi bins c,d babaia de the od lata bebe ST Die I betel cts eB h TD kd ool pie hd ke oo) et 1 Gee poh gehen ehh otek Vince bie bled! ae & o" Og iy we a od eee faba baler beh diate Seatlies Dec ate Rel Wee Te tad Doe | ech eet atbet let Dedites ‘wake! ss Shae agit Son ete? tel Deedee eel hee Rin ee ete Tl ts Pe ae ee Cie Parry 2 4 ok con ee Sk em ae ait ee Prt aa - a . = = ae > a) Se YS . te ee Ae . bate . sy . ae a “a = . _ gro e] ee ee beet rat Cea reread Dd a er he a tie IP iat) a ah ade hid Paarl aie tae ead SS emis alate She ee ren - a ee - - + rs . we _ ee gy ray | » Lh aa ps a greed et oe tot SS Pe pat ) ~ “~ Srp Pe tutte ah lacs act hatha oe tetrad oh Ae epee — ike tite he SOA o . = een —— be - - P bs ‘ wea ba) “s » — ~ o | & CH ACE haky xcav I PUBLIC BUILDINGS NE outstanding fact in the design of modern public buildings which strikes the most casual observer is the universal domination of the classic tradition. State capitols, city halls, courthouses, museums, libri all seem naturally to fall into classic forms; all show how the classic tradition, so firmly founded by Jefferson and his followers, lasting through the revivals, retaining an emasculated and sporadic vitality even through the Horrors of the General Grant “period and the vagaries of the Victorian Gothic, Bere come to new life and dominates modern monumental architecture. Another dominating and controlling though less obvious fact is the development of the art and the science a planning. It is this ae vance rather than an improvement in detail through increased archeological knowledge which is responsible for the general improve- ment in the quality of enetcan public building design. Planning is the art of arranging the various rooms, omnidone chains etc., that a building demands. As such its effect is most obvious in the efficiency with which a buil ding “works.” But it has other effects equally important; spaciousness, impressiveness, grandeur, on the one hand, or studied intimacy, coziness, and privacy on the other. Planning is therefore the art of relating the parts of a building together so that struc- turally, ‘practically, and zsthetically all work toward a common na: all build into a It isin the grasp of this conception that the basic merit of 1t was pre cisely in missing this conception common and composed unity. modern American public building design lies; that the work of the ’sixties, ’seventies, aaa ‘eighties so cenerally Pauled: Between the mean entrance and crowded stairs and dark maaiinect corridors of such a building as the old Post Office in City Hall Park in New York, and the magnificent openness of “lng orand stairs and the rotunda of the Missouri state capitol (No. 483) lies a gulf that rev eals the advance in American architectural planning during the last sixty years. T'wo tendencies have been at work in this growing mastery. One, purely French, called logique, comes from the Ecole des Beaux Arts, Paris. It is the theory that the appearance of a building, outside and in, should express every function and important structural element of the building. The other tendency, Italian in origin, finds its inspira- tion in the planning of the great buildings of the Italian Renaissance. This theory main- tains that perfection of proportion and beauty of details and general effect are of as great importance as the more formal theory of abstract expressionism. Dangers beset both tendencies. Logique frequently produces complexity instead of simplicity and accents parts at the cost of the whole; and the Italian tradition, in making an exterior which is merely a mask for an interior, tends to lose true unity entirely. Logique demands careful thought, rigid analysis, prevents caprice and mere ostentation; the Italian tradition makes for quietness, careful proportioning of parts, and produces monuments to delight as well as essays to read. The greatness of American monumental architecture lies in its combination of these two tendencies, and in its consequent attempt always to make a building not only beautiful, but also straightforward, expressive, vital, yet never to sacrifice to an abstract theory any actual, visible unity and beauty. -Modern American classicism is not the classicism of the revivals. Neither is it that rather uncritical love of various Renaissance forms brought back from Paris by Hunt and 200ul eRe PER Cree Pa me Dt rin (or bat sth. ed s 3 PUBLIC BUILDINGS 201 - cd TER RSD KS PVC bECURE Se BENE Frere renin hha k cp tour Ss - his earlier American followers at the Ecole des Beaux Arts. It is something much deeper. It is not a slave of periods, and its freedom is constantly enlarging. It is an eclectic classicism. It seeks esthetic, not archzological harmony. In general it tends more to ancient, and particularly to Roman precedent, than to Renaissance, yet it uses Renais- sance forms freely. The Detroit Library (No. 521), for instance, is neither Greek nor Roman, neither French nor Italian Renaissance, yet it is distinctly classic. The American designer in a classic style is seeking the essence of all those things which make the serenity, the dignity, the grand and simple scale of the finest classic work; he is using an alphabet of forms that the world has known and loved for hundreds of years. The American architect has thus created a new sort of classic. He has wed Renais- sance cleverness to the dignity of ancient Rome. He has treated a building with monu- mental planning, based on modern complex needs, perhaps with a Renaissance dome and stairways and windows, perhaps with a Roman colonnade, in a style which has, at its best, both Roman greatness of scale and Greek refinement of detail. He has used a vast number of materials boldly — steel and bronze, glass and stone, marble and baked clay — and made of them one unity. This is a unique thing; no other country has, with such complex problems and materials, produced a style so flexible, so free from archeological trammels, yet so dominantly and singly classic. This is not, however, an ultimate development. A new conflict has arisen from the very nature of this attempt to combine theoretically perfect planning with a beauty so obvious and so dear to the average person that it becomes a true communal expression — the conflict of pure design and modern structural materials. For steel and reinforced concrete have yet to find their true artistic expression. We are not accustomed to the forms they suggest; much less have we reached a point where we can play with these forms, vary them, create beauty with them. Now, too often we use these new materials to represent, even to imitate other forms; we build a structure and hang to it a bird-cage of wire lath on which we put our decorative surfaces of plaster that is sometimes jointed to appear like stone. Many a modern building seems less a building than a mere piece of stage scenery, exquisitely designed; and there is something in the architectural mind that will never rest content with this. Eventually a solution will be found, and new forms developed to fit the new materials. Already there has been a beginning. The Nebraska state capitol, by Bertram G. Goodhue (Nos. 486, 487, 488), shows a new expression of the classic tradition, and its beautiful interiors reveal a new vision of the tremendous possibilities ahead. Modern America has developed a number of specific types of public buildings that need brief mention. First of all, there is the state capitol, usually domed, with two wings to express the two houses of the legislature; an idea based on the design of the national capitol, which, in its perfection, early inspired imitation. In the second place, there 1s the typical classic courthouse, frequently with a great colonnaded front to express the dignity of the law, and with lavish court rooms opening from a large central rotunda or monumental lobby. And then there is the railroad station, entrance, waiting rooms, concourse, train shed, all combined into one great building that forms a monumental gateway for a city. Finally, the public library, a monument to the American am of universal public education, whose great halls, delivery room, principal and subordinate reading rooms — all often richly decorated — form one of the finest expressions of Amert- can democracy, a true people’s house — built for them, owned by them, used by them. The last two types, stations and libraries, are those in which America has contributed most to the stream of the world’s monumental architecture. They embrace the two problems whose requirements are most uniquely American, and whose complexities seem particularly to require and to appeal to native ingenuity. Phe libraries of Boston, Detroit, Indianapolis, San Francisco, and the great stations of New York, Richmond and Washington, are true additions to the artistic wealth of the world. = Sa oe 5 a yh cp yy rs gst aee [GES Seer ee ai Ln Ch On Det miter torte roe ear 's a a u SE a oe ee) LOO se ee ae = 7 PEN PR Pe pe Pe et Pe PUT OPE TD 3 at see iy “speed Bares 5 an eee Pe EE ied Lipa sL ee tae Pe Ps ON] ee TAAL ec ee SST Sag ee aa Shore rcelhOAucEGroveRs Kerr ewe ed «es wisi * er et -~_ = ee ae ES) ae J4oe2F * VEC LEC eee ere Bros +o Pate) ee ee ee te Pe a ee es —) wy eS Dee ie ie ee Poe asus ee oe ea eetTHE PAGEANT OF AMERICA i Para La ot , a Hit od 1 a ' 2 di as eee mao West e SG ee ni a i — TOT T Se ee Oe ee a oe - . bar inert rat ered Ohad hob has dale ban the deh Tedd ble Lad lteter LOST ee * " ay A 5 = ¥ — a) - ~ =— . a *. P “tte “ . 4 =* ye f ; ay. a ? ep ma LE 7 , Le Ee ay wa a / : fs a a ; 4 ye age Pe: ETL a. ND ea ee oe ri facia nn sa eT oe eo P| Ta Seat REE TT | ee x +t ieee DEE dis cainig t, cee ee BOO. im — i yo a : 477 From a photograph by Rau Studios, Inc. THE OHIO STATE CAPITOL, COLUMBUS THE capitol at Columbus shows that the accepted type of state capitol had been set early, prior to the Civil The austere Greek Revival style is well handled, if a little eet MA ts in Freee ee Mes rn eta L Ve - ~ < A bs - War: two wings and a crowning central motit. heavy, and the crowning circular drum is an interesting attempt to design what is really a dome motive in a Greek style. + i . = 3 pou Ce te ttl “ 5 hte — i or oa Pai i ele a lh adhe ete ea iad ee ad tee es OS Tee aL een ee > = Se Pe ieee fie: ad See my Seen aie & wee ne Raped, co ak we bt RE a Re a ts oe s CG CO ae eRe ae yo E “e7 . Uri i ~ wt Or aot pect tne pease Wats aux Mu” of SA ea er ee alt Latent tho dine cel os be Pa et SPV er nn Oe oy << Sa Se Sra id ~ ‘Get: ee Aiea org Rsk “i ve hn + cae i . . 3p ees ~ a Liber eross Da ayes AMP Meets 478 William Thornton, Stephen Hallet, B. H. Latrobe, Charles Bulfinch and Thomas U, the Halliday Historic Photograph Co. Walter, architects; photograph by THE NATIONAL CAPITOL, WASHINGTON Bur it was the enlarged, completed national capitol which furnished inspiration to most of the more recent state capitol designs. Its dome is magnificent in silhouette, even though made of painted cast-iron, and its impressive length, with the two great Senate and House wings, is amazingly consistent in view of the length of time its construction occupied, the completion of the dome occurring at a time when taste was Sclialat Dicer tahdi Se Nahe cel hale tea Lee Tee Ltd POs. . Pe Be SF a% < : x at a low ebb. se Ro ete ett et Cate ten tel et eet er ae nee ee pots. Gate uit ak AO A ot he he hae hat = pe * P eenKqel re ot - aPUBLIC BUILDINGS 203 — oo SR ee ERY Rp Ry Pannen PrCrie Pr heawc ryt rrrtrtt to triny io bate woes —5 4% J tars FESes eee ee toe tad aEC coe rg ee te ‘ » ro “73 vont ow ' | | j—| fil Rp eke Ln heb ea 7. ote a hid ~ _ PT ee ee OE yin 8 ee eet rt tte Ree PUT TRON se TROP te rts tts - *. 5 are eK ‘ie PS gee eta - 4 3 eters oe ee ye Pe Say Bey E ee PA eh ee a ee oe er be a er et ee) et — a ms i f “er. 480 Indiana State Capitol, Indianapolis, Edwin May and Adolph Scherrer, architects; © Detroit Photographic Co. aes eo eee ek . a Rhode Island State Capitol, Providence, McKim, Mead and White, architects; © Detroit Publishing Co. eres) oo > i Pres Dd pea Peay oe oe a ee 3 od Z a ee s poop pe -o——-— e memgeslt BO a —— a = Le ‘ eo ¥ on ay elers ; nae ; > Beate B array ak a i PF a » i A. Ko Phe fw } y te —) i fa 5 ; 4 ; . DEORE ME Coa 7 T . reas - — * >» a ' : BY}. eh f oe - wetter, Rhy oy aU PPriiecs aes jth a. 482 Arkansas State Capitol, Little Rock, Cass Gilbert, architect; © Underwood and Underwood a ee 5 3077 $5 5.0 ja 5 si 54 Sr ey Oe Pd Pe i) Co en) 2 A —~ Ml a Cs - . Ls La Le a WT ts i) eae ee a See 95 Oe Fe Oda ae ot a ee ek ee ad STATE CAPITOLS THE state capitols of Minnesota, Indiana, Rhode Island and Arkansas show how closely the precedent of the national capitol has been followed. Despite vast differences in skill, beauty, and detail, all four have the same general scheme. The Minnesota capitol (No. 479), perhaps the most lavish otf the four, is a masterly nad a example of rather academic American Renaissance, deriving alike from French and Italian sources. The Indiana capitol (No. 480) is full of misunderstood French reminiscences, with detail chaotic and ill applied, a J IGE TS pa TOTS ° . . * . . @ . rm nF . and has a dome obviously insufficient to dominate the confusion beneath it. The Rhode Island capitol « "? mm ~ (No. 481) is made distinctive by the combination of a wall treatment in the wings, evidently inspired by the work of Bulfinch, with a dome studied from that of St. Paul’s in London. The corner domed turrets are note- worthy. The Arkansas capitol (No. 482) gains in effectiveness by its simplicity; only the queer circular and eee + SS Ce ee ee F 5 Sao ee mow lone oe semi-circular openings in the attic over the central portion keep it from being an excellent example of restrained classical work. UeseeL wUrle ate PE ules Grae eae ws B a ' wss Ratan Ei : 204. Niet ure ber erie bat U bay tho - - PAGEANT OF AMERICA THE GRAND STAIRCASE, MISSOURI CAPITOL, JEFFERSON CITY A MOST monumental Roman character, in cof- fered vaults, Ionic colon- nades, simple masses of broad masonry is shown in the grand staircase and rotunda of the Missouri capitol. The Roman feel- ing is seen as much in the —— ie - planning and general ar- brea Sot Vata Vinee anlar ia reereden ated oo of Nels ieee hie 2 kW teal) tobe tir tet tal ee Teal ree So ty a ee eS =e» Oa Petite teh me a ee . - . BY b pS % ee Bate he yr ar ' Pa ie . . = i te pr le ul rangement of parts as in A a hs — 4 hes ie ica a Fad as tert ea tbeh ere ie een Ee ean “ ry ne ~ Ph or ik ha ee 5 ae Peat eae - ~ x we 3° ar eclectic classic as there is in America. Yet there js enough restraint, simplicity and dignity to remove all if (i. at fe %! danger of such richness appearing vulgar. Se) « . al Nah leet el tachment et ta Det ba al Le et wr er ee n . er Cree: a ie ee tie te PES i i Bl _- a < - - — 4 beese—elliel - Sf Rts CS Oe a 4 alla isu pease 485 George B. Post and Sons, architects; photograph by J. W. Gillies d\n MO awa tate bette bbe te hor eee are a Ne Na Nate het riba eho bh rh cat oan Oa Be Ba AR ate a 5 ey po RS at be re. . Wee oh Na ae Rk, ed ss 4 lg aie i the detail. INTERIORS OF WISCONSIN STATE CAPITOL Tue Wisconsin capitol in- terior has a rotunda (No. 484) which in its blaze of dark rich marbles, its mural decorations, and its large scale is as lavish a piece of re ee + ‘= = ree" AW ee ra OO acl < uh ee 484 George B. Post and Sons, architects; photograph by J. W. Gillies The Supreme Court room (No. 485) has a similar dignity and the mural paintings add not only richness of color, but a desirable human note.PUBLIC iparts sary) Wah 1) at 4 te aa : x ef rt " ’ aay: 5; , Ee OER fee or or: 3 ut a a pyr ee et : 486 atthe BUILDINGS “ay he en Bertram Grosvenor Goodhue, architect; photograph of the architect's rendering 5s So i og PY. ho) Beek / N 7 T : open i THE NEBRASKA STATE CAPITOL, LINCOLN A DEPARTURE from the typical, as daring as it is logical and beautiful, is to be found in the Nebraska capitol. Distinguished by a great tower of offices, it is visible for miles across the flat country; it exhibits great classic restraint and simplicity but without historical precedent, and a free and daring use of decorative fc f a et I~ S4tr & " a 7 — — CSC ! “77 34° shaper d i — < ay — a nts i = See 0 he ik : THO eae ae = 7 IT 3 oa oa ee = Pa . —- : " " ; D : a ha - = a & q 4 “~— . a - ; A oe _ _ er ~*~ ~ « . ” a ep 3 > <> 2 ont ~ . - y ¥ = ee ~ r an, . - > “ < he SY \\ fray hy $33 > k 7 oe he ee f Ly \ ‘yd |e pos T ° A 7 uy) sh} - . < ‘as s+} Aco ' ma fT i Fit) Weare Tt | De HY | aise a h ; PD a +} - A 4 vw ‘e i [Sa RD Pte Meds t ; fy bi Kent iu 7 Gea iA ee pete sea y Al ee aes * AE om An y ay » Mo [sae 487 Bertram Grosvenor Goodhue, architect; photograph of the architect's rendering The interiors (Nos. 487 and 488) show the same freedom, richness, logic, and charm. Great vaults richly decorated, and simple bold mass composition below, give a character half Byzantine, half Roman, and yet entirely American and modern. bison at the ends of the walls that flank the entrance steps; sculpture Wisdom, Justice, Power, and Mercy on the pylons at the great entrance arch; and the figures of great lawgivers on the buttresses around the Supreme Court windows, all modeled by Lee Lawrie. The whole forms a remarkable combination of architecture and sculpturing, truly American. ee Pree , 7 . Seah LOT AE or WOR OES aA eS wh Nate AA AL acd by I) y NF) ie t OY Tin MUA SAN ra ah f a vit. al A SRS Pi Syl NYY Yer = watt, . ot A Se ps oS e)- tT} wart esi MFM he Ea Oe) > iy, ya y ox ta _ Pa ~~ ~~ my } RN Ya epee Gor eR PE Py LEN ee SM ey Ay ea RIG per a) Nl Od Pa aN bee atte sity et) } Ti pana heft ere Ceiba itd ad 7 “ > + , Ss Bertram Grosvenor Goodhue, architect; of the architect's rendering photograph Ay ed aor, 3 ee te eee, Bee | od TPA wy Pa syd ig . taal eed Bd Na dot ee PY yilad a A et a a te” | ar a a pay Fi s Boner tre tt rr wind we a ? ov = EPPPrererir Preece rns tr) oh ~ ro RS. a Pe aa Lon nett Sites toot n PT a ‘, ~ Ae Pes * PES L. tert to) rt SS Sa PUT en yal Bane CMa Pty 7% PPR ee oe Tr La " 7 - Te eer aoe net yanknse 0 cS a 2 5 erty ek Par 5% PE oe Pe bee a os ee a Cos Sa a * a pe iS) ae 02) oA a s Pre ea ray o ra ce ~* . a eA a ad aoa te od4e eyo ey ee ee ee a — = - 55S x al te Pe as ee eee ae ed 2 ae ad ae ei. het eg * np es Pee 7% o> ie Poet T;: +a ge Pole Pe) ee el Pe ad - a og = a ret we 5 vo cad , as % eeees. 2 7) Acad vr) . ) pets wheieee eh La Cte eee leh lel bee Medi dee eet bad et Wh CET . ge tng eens fy t OE ee att eH ee - na S RC Dee, ; ch he ete be tae --Hibtetea Alienate ehh oboe rer Set oT Teh Laney mere era recn Pee Se ‘ z = Pim ee 2 ADRD bs Ps Jah rs a . He . ye 4 +, 4 Ra ge 5, ot x an = a A m 3 ae remem ee ete) r aa Nie a iene Ae alae ie are ee Te oat a H A es ti Nf Ee re E 4 H f fey [ i i! a a ~ - ae - kta 2-5 em ee =~ ee ee 0 ww et hee Pg By 2 ee aaa ARTA aE Rey Rs Sie ie er ae Pf SA a tia tn on oe elite et hn etd bel aah eh hee ee os en tt * * - 3% Os = 2 es - a a kee « a be ‘ “. At =* = = - +. bg ~ a So Wh 4 hoe ie Le ee as > xR 206 THE PAGEANT OF AMERICA - : oo " hi, ne at ene pied hn Se : . . 489 McKim, Mead and White, architects; photog ar by Wurts Brothers THE GENERAL POST OFFICE, NEW YORK FEDERAL buildings generally continue the tradition of strict classicism. One of the finest of these is the General Post Office in New York. The long, many-doored public space is perfectly expressed by a colonnade, which in proportion and beauty of detail is the equal of any modern colonnade in the world. Vitality, interest, and decoration are all served by the beautiful and apt inscription on the frieze: ‘‘ Neither snow nor rain nor heat nor gloom of night stays these swift couriers from the completion of their appointed rounds. THE UNITED STATES POST OFFICE, WOOSTER, OHIO THE smaller post offices scattered over the country, designed by the architect of the Treasury Department, of high architectural merit, and accomplish much in setting an architectural standard for are frequently A building such as No. 490 cannot but have a profound effect the localities in which they are situated. upon the architectural taste of those ae FEE sc is J osetia aa * e . “nf ° > f wat ee H 7 3 * E to ‘ geen ci x en who daily see its dignified sim- C > tere fo plicity. La ji a he. aN A =. yyy 2 ESSE eet eat Woe ty eae rice AIS MMs Ha ‘ PR SC aed 2 Pn ire ea PTR ey ie ec SRO eens Sa a7 aaa es ——— ae Riad (og f > 490 ‘James A. ‘Wetmore, acting supervising architect Sper ) 0g RI TET Oh z Pees, THE PORTLAND, MAINE, CITY HALL | oe 4 ur lt Ea att L vray haf el oe In town and city halls, although the general ten- dency at the present time seems to be towards some type of classic, there is much more opportunity for the expression of local styles and tastes. The 4 Portland City Hall (No. 491) is an interesting Taare (eel combination of many forms purely classic with x ne gees Se a many forms purely Georgian or colonial, all unified by the typical modern spirit of eclecticism. It is an effective and impressive building, although the coldness of its blue-white marble makes it seem a little aloof and remote. 491 Carrére and Hastings, architects, John C aviny: stevens vand John How: ird Stevens, associatedPUBLIC BUILDINGS 207 THE TOWN HALL, WESTON, MASSACHUSETTS Tuts is one of the best examples of a purely ‘colonial’? treatment, with all the grace, the decorative combination of red brick and white stone or wood, and the refined delicacy of scale which characterized the work of the early nineteenth century. Like the Portland example (No. 491), it retains the cupola that was so constant a feature of colonial public building. ROS Zee THE CITY HALL, PLATTSBURGH, NEW YORK Tuts example (No. 493) is one of the Wiad Sitar dialed © ge . , . th a a tg’ ae : ¢ EE = 3 oy a ae a, 13> 4 os 4 o = ri - Se e) } * ‘ - +S \ oes ‘ a winks a - t nA i very few modern buildings inspired directly by the Greek Revival work of : . “f 492 igelow Jadsworth, ¢ itects; photograph by Thomas Ellison theeighteen twenties. Beautifully pro- BIg low Bd Haney OOo ae eee te Da coe ee oan portioned, carefully detailed, with its low dome and Doric portico, it recalls not only the forms of the American Greek Revival, but also its somewhat austerely cold character. To-day, such a style seems rather remote in its grand and aristocratic dignity, — — ~ —— a a little arrogant, perhaps; modern taste generally prefers the greater Sea Pact warmth and welcome of the colonial. ro —_—_—$$$—— $$ —_ — — — 493 John Russell Pope, architect; photograph by Kenneth Clark MUNICIPAL GROUP AT SPRINGFIELD, MASSACHUSETTS Here the civic center of a city consists of an M4 office and court building, an auditorium and a great clock tower. Its rich classic detail, and the double magnificence of its twin Corinthian porticos, are an impressive. and dominating decoration for the city square on which they face. Designed thus as frank decorations for the square, there is less need of definite logical expression of function in their design. So the buildings serve a double purpose; practically, they house the city government, and eestheti- cally they are a civic monument. 494 Pell and Corbett, architects; photograph by Wurts Brothers ra) pe ey Te Se 5 wa 5 ie rms a .’ Ace oe tee vr) Pa » Se aidbe a Pte Sorte PREP ele be .. a Renin hee tit pate fr FESR EEE RS Tee ed x eet Seba] Cran ri ee Te eee . Pee met ey er een koe Lt ic beth ES tt eR a Etta S ee a aR ep Ty et PEN oa ia TO Be PS ee PO 4 wes 2 PRR ae ee Ie Per ae 1 AI = any TeV Rohner ey FEI tt ee SPO Se ry a! I 5-35 5 er Se Se ae PN ed ot ed tl ” a at SG oa J ; TT eS Sree Oe SoU 3 ee le ee a : fds Ce ee RRL One e epee cele re ear, * ute Cale Poeleo Sat ole cee le Gh! a ” aey rs 208 THE PAGEANT OF AMERICA bi ied ieok ter ert e betaine roe THE OLD SLIP POLICE STATION. NEW YORK rer TT In planning this interesting building, the architects Tenn eel TEE Tanta . > ° q ee turned to the rusticated palaces of Renaissance =! 8 Florence for a style expressive of strength, solidity and governmental dignity, and achieved by beauty of proportion and careful detail a gracious Impres- siveness that is distinctive. aa VAA\\ i wv Dee tid bball tet eeeedae te ty, oie ble nila De bah YS tel ale i bebed SL tal tba eats 2%. SC =e. et he RR RY erp Meo at ke ae hs = “ge ] pre 3G PUBLIC BATHS, KANSAS CITY, MISSOURI Ain a af | Park and reereation buildings demand a lighter, more ren te delicate touch. In their design the forms of the less 7 Fy a = monumental sort of Italian Renaissance are almost Sh EE G = = universally dominant. Such buildings as No. 496 pe nent reveal how charmingly tile roof, spreading cornice and classic arcade fit into park surroundings, and with their welcoming effect add still more to the beauty of the park as they add to its usefulness. SN Ta a Hie a ar tT nae ern eT aaa LT eet Seal ae mR ed hel Eh hee eh ety Pie PIO e . ed “s @ a) ny - . 4 -_ A Pa bi A i) LB Ne ‘ E Se bes i oy € rane |B Ls oy ae mt a ae , . PRAY Be : , RS ed Stale Se ets. “ ZF nna eae BE AL REE Nee ry poh eens aaa r a 4 A aed ip tle we - - peta Retire = pelt ee ee eT ee OMe I ee SOEUR CA Lace ep ties ne nag bea tats Ls os * PT d Ph, * ; ees My . Me hi thyn a : hbk fee ee setts 3 ene Es - i 4 if . = vee eee eck eer ee oh! ae i wane ac ita F we J si i 496 Wight and Wight, architects =] RECREATION reece rere ae. 4 PAVILION AND Wifi | Witte BAND STAND, mene HOBOKEN, NEW JERSEY In the Hudson County Park in. Hoboken may be seen a ai | >) aaa |) richer and more decorative + Sent tir | 4 erred bier 1 2 ae ae ae fi} development of a similar As RP a wégel §=idea. With its playful foun- | Sie : tain and the lily pool to mirror its rich ornament, it br et bet bet ed a te ed heel tee Sh te eT reat Lt eo eo) a te Ya are ae A _ as ? haar a eee ~ lam dm ene ee, -_ « ~ s i forms a grouping of de- lightful grace and effective- eS ean ness. kh ‘ ae Sy sage eA lll 497 Arthur Ware, architect ; ’ Ce hhtreete beth tee ete eet 08 Dg ee es ea) Oe Ah PA ces > iy He Saas ee tg nn a ae . ar _ hee ae Oe ae oe . < - a am he ~ ° ity cy x S Dy ot Bet ced ara <2 += a See 4, AD AR a ke OE Se 2S . . . “= bd oh - + & . - = ° D a = , ala” ow xPUBLIC BUILDINGS 209 THE Q STREET BRIDGE, : WASHINGTON Sere | BripGEs, too frequently merely BD ai us en = EA MRaiys 6 engineering and utilitarian proj- ects, can by careful design be- come true works of art. Such is this bridge in Washington. With only the minimum of carefully placed ornament, it nevertheless achieves, by the handling of proportion and mass and well studied use of materials, a force- ful dignity like that of much Roman work. | oi 5 pe heey ~ e a . Saige Bao a 498 Glenn Brown and Bedford Brown IV, architects tT, o-te 4 TUUTPS TESTS a ae a ae ce oe is +74, -— pee Tt eis eer ee TOUTE ne a ee Pee A ; ! i 499 Carrére and Hastings, architects THE APPROACH TO MANHATTAN BRIDGE, NEW YORK BripGe terminals offer a magnificent opportunity for architectural embellishment. The oval colonnades and triumphal arch that form the approach to the Manhattan bridge (No. 499) are instinct with the dignity such structures demand. The arch is studied from such French Renaissance arches as the Porte St. Denis at Paris. But to gain its maximum effect, a gateway like this demands broad, open approaches, and a monumental type of street planning which are here sadly lacking. THE COOK COUNTY COURTHOUSE, CHICAGO Tue tradition of severe classicism is more rigidly followed in courthouses than in any other type of building. In this example, although the building is full nine stories high, the architects have forced the lower three into a basement, and the upper six into one colossal Corinthian order of more than Roman size. Such a design makes the problem of scale almost insoluble; for the great cornice, and the tre- mendous projecting member that crowns the base- ak. ment, seem afflicted with absurd gigantism. 500 TIalabird andi othe larchitects pe oe 4s ao ta I ehh CA on ed a4 yeP RS — ey gy et 2 hee A Cr OF * Tio * Q - oft ae . oN i See eC etal owG. Cre Retr Ltr or i itt on bate ee i = Ne ea SADC MS See tr. SS be ne Dae Poy Tra) Cheb etsy Sek J ) een rr orc PES *Gu 2 ee, FULT me RPE tts en) Ae oot el i ere Ces y Oey es , Terres . re f ee av ot Ca NT ) eae ae ee Lt * _— 5 ‘s 4 i en) Lhd | 1 a 3 2 A 4 “a re i A c 2 ¥ 4 Kf 4 x a aie > od — ae - “ Gy ABER EO Dry , | Te) * jr eeueed as Poe ee Pe NOL 4, ot sd Se ec - 36 10 t¥ O45 7O ys. PR gad rth TO tis oe FoI Sg ~ te b as 5 PO arr oe 77 ‘e J apy Se a ot ge ao ee a 54 TE ee fae 1 i ge eal eid a ee ie ee) “Joe Via as | 210 THE PAGEANT OF AMERICA bed nk Der Det het tad oat nd ot ds ee ed Sa aa ace oo) THE COUNTY COURTHOUSE AT CINCINNATI Tuts public building gains great dignity by the unbroken wall surfaces of its facade, which throw the Ionic colon- nade into vivid relief. An inscription let into the frieze — “The pure and wise and equal administration of the laws forms the first end and blessing of social union” — vitalizes and decorates the somewhat arid dignity of the whole building. Sted Gol deen hh eh ed ete eeh ital Vee he! el he ee ee Sede ube the ek Wr ed Pie bebe tel Ciel rea TT BA sooty Pe a Se pe ro se Chl et tm ial ba tate, bei tea i aia . Fe . ~ a Teas & ~ ee Lei oe We ot a te A Ps o Pe = x ae os . ~ ~ sak A “4 eo Len) Ls TI ag em er a Trikin ts = “wa Ss Rete ; 5 A Vo 4) @ be Ranh bd haha ete nen otha theless ed oan Vat Saeed tee hair kre ie tid let ad) bee L NetTe Taae a gt Sy, gig Ms & ot a & . . S ~ a, - . - - be “ fe ve 3 ~ + a = BD het a oar A x Ss en = ens : - 502 Hale and Rogers, architects THE SHELBY COUNTY COURTHOUSE, MEMPHIS, TENNESSEE THE courthouse at Memphis is smaller, less austere, more enriched by sculpture, yet equally classic. Its treatment of the Ionic colonnade with its pedimented end motifs is characteristic of the best American classie eclecticism, based perhaps more on Greek SES. : detail than anything else, but using Greek Inspiration f a eo Het 9 freely, vitally, with no attempt at actual copying. oY ao eae } ec oe A b fi Ur Ps f Hi F by" Oy ~ ky : TTA fy) Wi z f . Leas ea hs nt sett teat late adit Nidal bined an hie ee Phot nt i ig A oe f * A A Sn A LAVISH COURTHOUSE INTERIOR, NEWARK, NEW JERSEY CourTHousE interiors rival bank interiors in the lavishness of their construction and the care in their design. The majesty of finance and the majesty of the law — these two, at least, are adequately housed. The Freeholders Room in the Essex County Court- house at Newark uses marble walls, mural paintings, and a rich painted beamed ceiling to gain its effect of subdued yet lavish dignity. It is a pity that more of our courts cannot be as impressively and a bhi ed el ee tt he tT) ae tt eet ee @ . “ + . - “o. et ee al * = a 3 ~ > Sf Ph ‘ a “I . - ‘ a ; eels | et aaa Oh) Lae beautifully housed. GRA ee Re ee 503 Cass Gilbert, architect; photograph by Wurts Brothers Tobe SB ek ue Oe eS ee ern eet! A eth ee awe ee ary? f Pd > a «ele eo As PUBLIC BUILDINGS Q11 T ’ Ter eae "tr A “se " Re | f t ee Bi Mm yee : % eae PENNSYLVANIA STATION, : NEW YORK RatILRoap station design, 504 McKim, Mead and White, architects; photograph by Louis H. Dreyer combining as it does the wp most difficult engineering A Pah h eter a — . = and utilitarian features : with the desire for ade- quate monumental ex- pression, has appealed with especial strength to Sey eee alles us me » rs . r tegen ty Y sathaet the American mind. The new terminal building of the Pennsylvania Lines in New York (No. 504) shows how all is united te be ee tee | ten y ni he « ATI TTT Ra | a Tat SL into one great block Mh ull treated with austere Ro- oa aa . ar are man classicism, dominated by the great clerestory windows of the main con- course. INTERIOR OF MAIN CONCOURSE THE interior of the main concourse of the Pennsyl- vania station is one of the truly great productions of American architecture. Despite its use of motifs derived from Roman bath halls, its tremendous size, beautifully expressed by a perfect treatment of Lo — from a photograph scale, its almost Puritan 505 simplicity of form, its capacity for engulfing crowds, the almost too restrained color of its decorative maps, all form a whole of awe-inspiring grandeur—breath-taking at first sight, and characteristically American. 4 oS trie F < ey aie eae id Ly Ste teri eee | P| wet = 4 rr POT TE PRE OD Patrik. eeel ered earns eg Mens zy ~ . Pat romana) RS POPE ad ere ua Lt eet a Pat eT 7 * ah Rei Rect at i ke. ares Cc aa es My oe ed eh PT ‘ ns Pe ee Ne ‘ 7. eet Sey ae . bf | | cad oe] rt sf * "= ~ an eG is aa fat ed ge es ee Puen d ta oe ree ed oe 2) PT Pe Le ta! a PE ee Pes ty Per ea ss 7 5 - Vrs eee t 4 Yo ya" 3 .* ee ee — papa Py ae et PT eee a] ey Tf O-$ ee ae 5 7 - - - + sete pS nr o a So ys » «t* o™ irs"; - ‘ ba ~~ P Jae ts eee G- at a5 5L5 ee ir ee - or a “ aud a5 =a # ra ge Poe Sa er 2% — a ie * -212 THE PAGEANT OF AMERICA Nobel te oe THE CONCOURSE, GRAND CENTRAL STATION, NEW YORK : HERE are reproduced (Nos. 506 and 507) views of another type of station interior, in which the great blue vault, dotted with stars and lined in dull gold with the figures of the constellations, seems almost an attempt to make it all part of outdoors. Here again Ls eet | r . os nd ~ \ ~ ak hens A rear aa eric tag bl ea) Seb teal Ded alert Det talc Te Tettir hs ee -, ute * a a = Tiare ‘oe a o e P ia F - ~~ e careful scale treatment, despite the frivolity and : | prettiness of some of the carved ornaments, gives 4 a tremendous dignity and a sense of magnitude. The oe Se simplicity of the great piers and the arched windows he eae THE TTEHH || 4s a masterly touch that helps give the impression ue as _ t he cag é . A - MRS rth of power and size. a ae Peer HHH HH ‘f te : 3 3 % 7 ptt “wh 5 e aa ee A - i 3 4 B i ps ‘ cr oN PEE EE +t! 44 iT os ms TO TL ene ) ie . e \ ; i ke rm Ny . % ®, ' eh e ae, ae c o » oS af pas z b oe t: ie = M , oan . £3 eg oe 5 Pa é;" ie oe : ie eg | b' ae ; — be Fn : 2 b> ‘ j nG Fa © RS r P ais mae ae ; \ pues eat ae Rem gts Ss mua") ae - ane x Jase 13 E = a Ty ‘ ys i" 4 a we . p.! 506 Reed and Stem, architects; Warren and Wetmore, 507 Reed and Stem, architects: Warren and Wetmore, associated associated MODERN IDEAS IN A RAILROAD STATION THE waiting-room of the New York Central station at Rochester gains the effect of size and welcome with its swelling tile vault and direct simplicity of form. Although certain details are imspired by Roman work, the whole beauty of this room de- pends upon pure line and proportion, and the orna- ment is free and non- stylistic, and the more valuable for its rarity. re H iy; Fi re Feet Fa ts eo ae be: ce sae San aoa Lehi colt a hated alone a2 ~ . ae = a a — ery Ps (“ide = E % +h = eS % 4 td - = a i, - tae F ie . > eo *, i - hats i - 2 ; ~ Sea : oy poof, ef fe rag =e Shee Relate thd Ren Nala te Sede Radin betel tie Lee od Dn ha ke Lae ee Se en Sa Rt — ee _ Sm A Ae - 0 Ee pe a Se ~ - p Bon t ‘ Se ~ be or 3 andes (nh ; , i = ‘ - be ) \ A - it bd * * { ° “ : < ; , “4 Ps ce A ¢ | eR | tse JM wa Lea a cl 508 Claude Fayette Bragdon, architect No hee en te te ee Pe i Po a - ~ . a - A urs ANO rh z ae) iy? 1 ype sie ae Ped POPUP ae r e ; Pte bt o2) 9 ee fs Pe, , f . 7 t ; H . D AL Lh bec H ¥ rr P Rrra H, pre ts tee PURER rte cy PL LEDS UE SEDI EET TI Oe os | ie E ee aed * a . te i Pa eit ed - Ae Pa ee ee eS 7 ie , — o . - . . A ~ REECE E ES Pr PUMPER OE TU Sa eee be or bat ok a Ces - —] PUBLIC BUILDINGS 213 ae ea | j | | | j i | | } } Py SEC HHESESE SKS foun tioisls wi haan =e Sine er tort x one a Peete tat! ior eal oe oer pote i - “ i ai 509 Bakewell and Brown, architects ~ ee ee ee od +e 5 5 re ry or Re Ce ei kt ance dors ae ia en. a eke are Pee et THE RAILROAD STATION AT — ——— SAN DIEGO, CALIFORNIA 711] TuE Santa Fé station shown in No. 509 is one of the ~~ ee uJ best of the smaller stations, for not only do its fore- court and great arch give an adequate expression of welcome, but also its simple Spanish Renaissance- i] whee Mission style embodies the tradition of the locality. It therefore serves admirably to express the railroad A! ae station idea, being both gateway and an embodiment Sa Uy eee nee rr of its situation. a A RURAL STATION ON LONG ISLAND Rurat railroad stations frequently have a picturesque KI) character almost domestic, except for the long roof over the platform. The station at Baldwin, Long sg bat X Rs A a A a = bs ‘ oe | bt Island (No. 510), has the simple mass, picturesque s treatment, and rough textures that characterize much 5 of the surrounding house work. Its unostentatious 2 Fite poe e charm and its close style relationship to its locality ston "Frank J. Forster) arobitect x partly compensate for its lack of functional expression. J FET ee 2 oe S230 72 30 eS OS. Fee Se ae ed ed dS Boi Se - it oe POE HOTT oe S294 US te oo 7 Pe ee ee a re ee ee a a a ie ~ - DF) Sree iy RARE AACS peeve $ i 43 ; " a pghand ‘Citra: Tae AS f le : taser), ‘ ~ 7 “i Far a re ee oye AES 4 pL AF set Je Hubbell and Benes, architects sia — oe) Fr ¥- Sd THE CLEVELAND MUSEUM OF ART—SOUTH FRONT Ir is in museums that the scholarly eclectic classic so popular to-day finds its most logical and its most charm- ing uses. What, for instance, could be simpler, more dignified, more beautiful and more expressive of the : oe ee ie P At museum function than the marble wall surfaces and severe classic detail of the Cleveland Museum of Art: Ru ae ey Oe PE IC en ble oe Sag te eee ate de De ee Pee ene\ ( i). oa oo) eae 214 THE PAGEANT OF AMERICA H bab iv Per eth tet eel tnd Ty ra B CBR i prh eh THE GARDEN COURT, CLEVELAND MUSEUM OF ART Museum interiors are growing continually more spacious, more simple, more welcoming and human. “Outdoors” is simulated in large courts, where sculpture and large decorative objects are shown in a setting of growing greenery. Such is the garden court (No. 512) of the Cleveland Museum. bh ol Ae hte de bela thd 1 VL ee ETT i.e eens ae a mae a o RR tar eld oe I ~i 2 a ~ 1 tar aeraeeerae eat oo ere ete’ Nh Oe LORD rm an ey Pee Be ese aye . . - - eT Ae 4 co 2 RO E eis . a 5 ‘ * " ~~ 7 - » ’ oA . ” TeX Pea ‘ Sor area Sp ee eS ee . % ys Lag «+ - a a s al + " * bes " ~ ~ ‘ ~y P Ar 4 > y , | 512 Hubbell and Benes, architects THE TOLEDO MUSEUM OF ART Here the architects in No. 513 have used a long colonnade exquisitely detailed to break the formality of its blank walls and produce an impression of welcome and invitation. Landscaping and terraces give an adequate setting. Endowed almost with a dream quality by the beauty of its material and the simplicity of its design, such a building cannot but add much to the richness of the life of the city that enshrines it. a , —— ee aad Saiki Sarat Note ald ent ed ati ee . Ot a Paes oy ye i . ae 1.74, ee ea ieee 513 Green and Wicks, architects; H. W. Wachter, associated o _—s . as hy F 43 ip f. fee es es Veh eae rs ie a Ste: 4 cy b ae ie er. } Lee ! # ri 6; i gi ie a Ge a i a ee i : _ " = sf an . . H Wha ie fe : S Pd ¥ rape A A ‘he ahs s Wibeeeebeaes sama’ |) pee |} merece ry ~ eae tA Pease a TT tr rid | bare i ws nd a a Ha nat A i ~ : 4g. oo KH C n ne PR COC BDO CD AB OOO SL Ba CN He igen eel ee en be PI Ot Tae RO NG Tr a TT a a 0 eR at ae 6 ; We oT wan ey Ue Lee a ; ey e See IE ER FESS: RE: I ee A * am F : + t Pe pdctcieS cu A ' . n ~ — . my dig a a i a ee Lah ee Sa adios pe oe i Ae * < PG hes PE Th “i \ ee = f RE ER, Fe es yr ste rea = toda se Van A A Dts pe) rca 4: 514 McKim, Mead and White, architects; photograph by Wurts Brothers THE MORGAN LIBRARY, NEW YORK Tue J. Pierpont Morgan Library is as much a museum as a library, and its design is fittingly eclectic, although based principally upon the work of early sixteenth-century Italy. Richness of material and detail and per- fection of execution give the whole a position almost unique in American architecture. Before such successful eclecticism, criticisms of style plagiarism — partly deserved — grow faint and seem only captious. beter tient hd hed aie hed tk ed eT ee rs > | te = ee ee nae s cb xh og < epee ee Na cca ln eh oe ene Lech tt ha ol rd S A SS “; = . het ~ Br Aa ed ~~. % FF be x ~ _ ‘ _ 5 = -, 6 te RESET ACO eh ee ete Sar A “ tg = a - gd “he ee 4o ' ‘ rie 7 - . ‘ “ U Pt Ew : Ud - ‘es Fi Ud Cs ri ed = 7149) ru a EA pelea o POS + he ir oe : o a : A {ie rhe Fi ' i C . ‘ ‘ ‘ bes i ; ‘ ) ; 4 j . Fi F ja per es , nr aoe Lh ge) ba cae ir ele gi. Hy ‘ / hg i he | we “fy t PL arts PL fsoere "3P PRE UC URE Aas J Le Pie ht A? WALA A Pal vad, FP Le AY 4 3 , , P F a % A A Api AL Po ae a rs pa Pa 4 eas) og = a = owes - = EP REPRE LES » bette PETE eh a ‘ te) eRe ice eT a ~~ ~- I PUBLIC BUILDINGS Q15 oe dicnthvineniwawes INTERIOR, LIBRARY OF CONGRESS, WASHINGTON Tue Congressional library in Washington, completed 1897, has the honor of being the first modern Ameri- ry a - Starts ead rent oN can building to receive adequate interior treatment (No. 515) by means of paintings, mosaics, and Soe Pea NR, sculpture. The richness of color in ceilings and walls, the lavishness of carving and of veined marbles, had a far reaching effect upon popular taste, despite the overelaborate ostentation and lack of restraint of the a vee pet, ory * library itself. v Bre oa Dn ht RS. Pet be : Fae oS * el = Paks Ph C yee = eS uJ Ces ay wir be er Skt S tele * eke Meret te Ph ee Jee f) i es ee 515 Smithmeyer and Pelz, and Edward Pearce Casey, architects; photograph by Rau Studios, Inc. a at nee pS oe al a A SMALL-TOWN LIBRARY INTERIOR THE interiors of the smaller Georgian libraries are AES ye i A , frequently rooms ot great charm. The Needham, = Saeed Mass., Public Library (No. 516) has a central me delivery room with reading rooms at each end. The 3 Ce aes vault and the character of the delicate Adam de- Ca ed a ty Pee eISSN Vo | c Bee pee ay Pee Pe PS tail — similar to some of MclIntire’s best Salem ¥ a a work — give the whole its subtle combination of elegance and informality. -_ oa . 5 prey | THE BOSCAWEN, NEW HAMPSHIRE, : Tue smaller public lbraries Bes Ae Wenge eee cL CeCe spy east eS eR SS ee Dr aie —. ~e of the country often follow er es Georgian precedent. In this 3 Fd ord 5 Ae ke ee ee ee ee ete Anowe een Soe iw kee wire example a colonial style is Se eo ee Se daringly modified and mod- ernized. Simple in scheme, it a ot 0 a) 53% ne) . - . ¢ _ f a ‘ r he — - rr § . ; : ~ \- a ee” Y de “ fe + % ; é makes no pretensions to Eplect Be one Rane Rey ata (rl Meee ot re Ls oer ee . being larger than it is; yet a “EO é marked distinction is given E: eit) hd SS 7 oe oy a to it by striking mass and delicate detail. rr ta ’ a. Ze, vi = Pe P44 ete) ce Lay pho te Pe Oe : Cer ee he ee eee a d t = 517 Guy Lowell, architect sO econ oka ee i eka ad cm A ra216 THE PAGEANT OF AMERICA eS ele erie sei vey ae A SMALL LIBRARY IN THE ITALIAN STYLE Bur Georgian or colonial are not the only styles used in small libraries. The Albina Branch. Portland Public Library in Port- land, Oregon, uses early Italian Renaissance forms with equal skill and attains thereby an equal charm. It is to be remembered that in all of these cases the use of the past styles is seldom ar- cheological, but free, personal, mb idea Vine blo bh alata ear bene . ress pr Gl tare perl eh ye aed bel abbr biel teed EPL ae ie ae Si Se ere A ee ee Rig iio ah ole Ft. , - and endlessly modified. Se eh ee eater ? THE BOSTON | PUBLIC LIBRARY OF the larger city libraries, this one, completed 1895, is not only one of the earliest but also one of the most famous, and still one of the best. Inspired by the famous Néo-Grec Bib- liothéque Ste. Genevieve ee nail ce tad aad ee rieainss a ir Nt et) eal ad aoa led et TAL) ea he . Bb A Cet ee Po sham a aaa r<- al in Paris, it is much more classic in teeling than the Paris example. Its sim- “pa . a 519 McKim, Me r White arct I ITE re sina plicity, the majesty of its 9 < ead and ute, architects; photograph by Frank Cousins ranked arched windows, and the beautiful use of inscriptions all give it distinguished charm and true beauty. Salada hd taal ihe Ni oe ah ole Ll a eae bl Lat Let Ser “ - ST ar tt DELIVERY ROOM, BOSTON PUBLIC LIBRARY x AGA HA h.§4{ Ine Boston Library is as ~ . a famous for its richly deco- rated interiors as for its exterior dignity. Puvis de Chavannes, E. A. Abbey, and John S. Sargent have fers Fa heed a. all helped to decorate its walls. The gorgeous color of Abbey’s Holy Grail murals above the dark See Ck = Se eee ee ah re subdued strength of the (i Hy carved wainscot gives the i 2 uae : Ail fae ie i delivery room a feeling of O quiet solemnity and rich- ' The 7 ‘ ‘ win e? 1s ot " PLE WY 4 . ’ — r , ; t f al . * t+ ie eat OE , td hy J : e a TA ) c q my rt 3 b . are | i 1 Ory ae me! | , ear “ees y as) Y ret CEL Per): “I A as » nto a eee ses eee) nthe ’ ee - a Pe 4 \ P = ae / : f ere " 0 hy Hs 4 pages een te | " 3 * PK 7 4 « . { ty eat YS ] : : by! eddy hy . ee hg Ld i 1 art , | ns - 5 ta} o y Pat By 1 ey ‘ ‘ % pense A inte = i 4 : * a bse ob e ads aa : pe et ee i 1 4 fail | ie HA i) “f : ; ‘ > har, ; ne a ae b sf < ' . | eae | | i) , . Lg A } ‘ $ ( '. : 5 ed Me Ling f eae +" aes |i : ' a re De ke be NE TT) vy a hi ite ee LY, } | i ee ) Fy i f C . ae: 5 re. ft ~ 1 a ‘ a cvs } PT ' ry Ps ’ jh a 5 : iY \ Heh ber | 2 \ bee AME, ie , ra. Hed PHap SEE Me ’ : ; , Ss eet =< Sy pea | A Pt: . A aa — ~ Ts 7 — ‘ =e \ a - Se]! : ee| ness. 520 McKim, Mead and White, architects: © Architectural Book Publishing Co. Wea ek ot ee Se re ee eer Tt os oe thee FA a ag ee bade Meters Lie) Tih te beet Dahan losin Yee tone too heh oe then eeider Laan heed ae Pt ee 2a PS se -“ RE eh Sa Sot ie 5 ee ~~ ~ a ren a ae Sn a +A wae a = oA . - on a “Suit 2. - s YT es A centro . SP Sr ec AL . - Se a a . oc hehePUBLIC ie — ri ’ ay AT AN VW mo NS Tes ene a ete ret SN PON Tn “peered walls a ery ' 2.783 i : meter Tye pee OTe 7 1 Lael aie MEET tat SAP Ge! Ni ethan wR me tte hy ian sey a op eae Pa vaeeh ee tein ae Pane oes at SIN dS : PGC HP al a a hx Teeay BUILDINGS e Af let el ye 4 ’ i> tI ; ort aye REFN RT Ae ba ry ea ad ) hg ee ‘ ‘ é pire een 2 . : ft. 521 Cass Gilbert, architect; photograph by Kenneth Clark THE PUBLIC LIBRARY, DETROIT, MICHIGAN Tuts is undoubtedly one of the finest of the more recent public libraries. a GF fee ee ae ae a= Re ae Lee Tr Ree as PTET gst a ~ ky My Bol Ue? abaya a ad ail } { luavites | be oa Rh inet A aa ST Kr gales > shit wt ad cham Ar gts ot ait Aare ee Wie, 2 Sola ago SEO FT PA re el Sires or ree pt Ye have. ni 4 ees wear meer sa parened ate " \ iow he eats ve 4 re Ed < iin hia : on Ne ae . ae etter es PAs i< ~ . + - A - wi i += “> PASC o> ey Stee ae be ee whee Oy PAVE > ¥ parpe}, 4 Be Crus; Ly akin ba eT 7a ‘ nes > mee fede ine pee sri T dads dh C soa vay . aye 3S i ae Yee ‘ ath na LUI Arh yatta les ei es amar as te! ; a) -e a ‘ Peck Y? ie a oe Saale ae ee nit: pee w Ne We Co eos ‘ay* : as7 Pres tne BS ee ae ote §22 Cass Gilbert, architect; photograph by Kenneth Clark THE DELIVERY ROOM SIMPLE masonry walls with delicately carved medal- lions and a rich coffered ceiling that give it richness, quietness, dignity, and charm, are the outstanding features of the delivery room of the Detroit Public Library (No. 523). Its detail is of generally Roman and Renaissance character, and its monumentality and the richness of its ornament, the carving in the frieze, and the polychrome mosaic in the loggia vault, make an ensemble of great beauty. temple to civic pride and civic education. It is a magnificent DETAIL OF CORNER, DETROIT PUBLIC LIBRARY Tuts detail of an end pavilion (No. 522) shows the richness of the carved and modeled detail, carefully located so as to leave the main masses strong and simple. eo eed (eel belt 523 Cass Gilbert, architect: photograph by Kenneth Clark . op 17 - : wr 4 Legs, ‘ot ys type Fer te S f, uy Sarbanes a , " Was ihe ey tge at ~ osc os . ey eo Ae hee "e = a sat’ vod 4 m aie at Bot be Picky 5 5 a ra knives diicandsokde ware ar ~ peer tnt Ne ae ik Se bE ee a x roTh ry Too poet bon G TPs. rete aan k. nee eons pe far ks errs be Pi PPT ee TRC ty +, oF meter bee — ot el Pee ee CRs Koos aay "i eh TA ere » \ Kaiecs oa <7 ew i Pe B Ss : oe ee) e ' Bi ea a Ie ite Domed tek er ered oe 2a) PTI fs ae wie ee (om id POT Sey et = — ry - . ~ - Ede yas ate Ie pe te ae Et ed SQL at AS Sv oe RCo Ber o = rr er - = je 0 pe reas = a Mt “Ot te F " ~ 7 ie Palo T so pee PTT) a -* “tT ao 7 - es ete 1) ee 5| \i \k at Ba eiiaaDa bn kG Co ot , a SP ea Pee yo r = Cea rerrdnertaa al dob olin et er ide heh eel le teed PTT Tet ee Peay Bo Dat igh Deke ‘ rte mth wo: law > ~ : ot Car a SP = - rer e . #0 De tr bahay Saree A eyete irene : “ Pe 2 ~ 2 See eae) vl ba bytes ih Sheaves ran it * ie | ES : Ge j ae Be ae ae a B; | ie ee te i: an tae Zt Ce < a | Bae 4 i i re if HY, i? a Le ee ie s te; $ r a Ac if | i cf I: Ei f t a ij re ‘ f iy Vt cs Sha ee ' cata ei De ber teeter bear Rt aa ete hed te dh at et tl) ee et ie a . a Late Leeder SO aera ek ce pt Pe ey Dike a 218 THE PAGEANT OF AMERICA ST. PAUL LIBRARY INTERIOR h bane rand 4 ai -? rt ~ aie >‘ RR A a A ee Se ee Dien seca , : a : : - Soe SONU U Litt iatiiy AE AN Ri Se eae gy «© LIBRARY interiors furnish opportunity for restrained soa) I idence 5 a eee SoPtee T pe EU Go eee Ter rrr : 7 : : =A - : aa a ez eae sae eemcenaeee| and quiet richness. A certain formality is desirable, #: 3 : ek \ . . : : - i ~weeere| but the whole must be kept warm, human, livable. ; ‘4 » Ka , maneeigeeternes : ar 5S . : . . eet Hf Vo \ ay In this doorway (No. 524) of the main reading room, Ay ' pif ai \ WSs . . oe cg ig i His i) \ fi fzay) the balance between formal richness and quiet beauty eer a Le ee fl el hac been surelv attained : f = aan ie =—4 aoe las been surely attained. Be sith Pia ‘ 4 <4 i i at t a Aj hs af \ “as r 4 Ang sth : oa "| Feces e 4 t t : » ee 4 ; ie Z zt 7 rt 524 Electus D. Litchfield, architect A REFERENCE READING ROOM AT INDIANAPOLIS REFERENCE reading rooms in modern work are usually kept simple. Bookcases below, simple walls and windows above them, and a rich ceiling are the usual elements. In the Indianapolis Public Library (No. 525), a ceiling of almost Pompeian detail gives a quality of lightness and delicacy often difficult to obtain with equal richness in any other style. 1 Ra peagnd 409 wa gett ris at 4 7). egy — - Nee i ESTHET PM Ee Nickie aa fo UN Oia en nr area 526 George W. Kelham, architect; photograph by Gabriel Moulin THE PUBLIC LIBRARY, SAN FRANCISCO SOMEWHAT similar in scheme to the Detroit Library (No. 521), although different in detail, and with a simi- lar dignity, is the San Francisco Public Library. The large grilled arched windows have something of the true Roman simplicity and bigness, and the whole is marked by unusual perfection of proportion, to which the statues add an effective human touch.CHAPTER XVII MEMORIALS, MONUMENTS AND EXPOSITIONS MERICA was fortunate in her earliest monuments, for colonial graveyards are full of slate headstones, with here and there an impressive table tomb, almost all emotionally sincere, beautiful in the lovely design and spacing of the quaint lettering, and despite crude ornamental details, harmonious in shape and proportion. In the first half of the nineteenth century the United States was fortunate, too, in the simple grandeur of that soaring slim obelisk — the Washington monument in Washington — of the Washington column in Baltimore, and of that smaller obelisk that gleams white from the summit of Bunker Hill. In each are the true simplicity, the true dignity and the true unworldliness, that should distinguish a real monument. But with the coming of Victorianism during and after the Civil War, that good fortune vanished. Crude Gothic ruled the country’s cemeteries; tombs were out of scale, harshly outlined, covered with caricatured detail. And sentimentality, like a sticky river, en- gulfed all, leaving a tradition that persists in rural marble yards to-day. Broken columns, weeping angels — and what angels! — became the fashionable grave monuments; and ill-modeled and worse carved realistic flower-sprays abounded. Polished gray granite with thin, scratchy lettering, and thin, scratchy incised ornament became the favorite material. It was as if the dignity, noble restraint, and sure line of the colonial gravestones or the Washington monument had never been. All the dignity of death and the nobility of memory were swamped in the sticky flood. Nor did sentimentality confine itself to the graveyard. ‘The end of the Civil War saw hundreds of cities and villages set about the business of erecting a war memorial — and almost without exception the sentimentality of the period gained in them its fullest expression. Moreover, industrialism, with quantity production, stepped in to help com- plete the sorry tale. Soldiers in stone and soldiers in bronze were followed by soldiers in iron; cast in hundreds from the same mold, or stamped from the same die. And the worst type of realism ruled the making of these molds or dies: softness, formless rotundi- ties, with no sense of modeling, or any appreciation of that first necessity of art —a sense of the material. Carved, stamped, or cast, they were all alike; and frequently, as in much other decorative cast-iron of the time, the iron was sanded and painted to look “Just like stone.” This was a revelation of a tendency that became so deeply rooted in American art that it still persists; although we no longer sand iron and paint it stone color, we are still content to paint or veneer steel doors to look like wood. The American Renaissance of the ’eighties and ‘nineties produced in memorial archi- tecture, as in all other fields, a revival of classicism. At first it was a mere formal ac- ceptance of new canons, without understanding; it filled cemeteries with miniature classic temples, cold and hard, as inconsequential and inexpressive in their own way as the 219 SCRE SEL PY ET OE ES EER EE BE ES FB RE Re ERE RETIC ED PPB ORE REET L5 e a BESTA Ll td sed ember ca ceca Son) Saas at AS Paina as Ess 20 A G9 Wn) wh ea rag SH ee aa cad a 3 ie A + a rm ie i i a i a sf | 4 | a : a a 1 ‘ ie ; i I a bar od Shot yt ee ee AN 5 Hide ae TT ae ro vot + eee oe ae ed oe ee ee ye pee 7 PPR ee Pt rey Pe od Pe) oe 5 s em brs a ~- St 3 ae = 7 tt ey Sate eeogaeaa ee ae Cy eS preres d ; i AP ae ie BAe 7 a4 hho $o5, tar PSPS PRES 5 aro s UTE Tete PER elas new lagen le PE pee TO Mee ee Pe ee eee ge ae ae ld Pe eo a a od aedoer Se beh beh Tbs bd ad SOT Sad ad lat a beled Diet Lele od oo Peak rae eae Pl ete lene / a a a ry ptm teat git le P ~—S * a . TY AY su oh 1S lt ee ee nce oe Vie ee roth tall A Ey a ee, ea <—— a 5 . Pe pene Seat ei ee rea ae Rr atmaahe eha N ala ltar r SLPS ANE ST ee it eens on 4 Pe SP ee A a ee he reco aC S eh Se aod idee m Se ee ee aa= - : ee tek ee eet ee = Bi ear Pat ita ry + fh io he 3: J i Hi P |e rin i c he é e « ie £ Pi v bf roa J i rag Alc ie se { B, Hp 2.6 hes ae yf [i He Pe iy BL! eo t rs ry ul ° U 5 4 Li 4 1 re i & H i P’ e Uf ed i 4 3 ¥ 4 f 7 ri Tt ie’ ae are fh 4 see 4 hls ar Aur tae ee ia he t,é ar ie i h 4 a T we Ly j tk ae ‘ag, * of fi) Ly PS oan. | by ¥ \ 220 THE PAGEANT OF AMERICA earlier polished granite blocks in theirs. In fact, many of them possessed more positive sins, for in them ostentation became a virtue, and as much detail as their surfaces would bear was squeezed upon them by the profit-grabbing monument company that was so frequently their designer. As a result parts of the more expensive cemeteries still look like miniature cities inhabited by a swaggering race of pygmies. We still, alas, have all these monstrosities with us. They were built to endure. And still the broken columns and the draped vases and the polished granite steles and the miniature temples are produced by the thousands in the ubiquitous rural marble yards. But the reaction against all this falsity has begun. Ever since the ‘nineties there has been a growing sense of fitness, of emotional sincerity, of freedom from any slavery to arche- ology in all of the finest monumental work. Statue bases, for instance, have ceased to be tiny crenellated castles; they have become an integral part of the whole, simple, strong, graceful, decorated with emotional aptness. Tombs have become more simple; they are, as a rule, designed with less ostentation and with a growing seriousness. This emotionalism, that avoids on the one hand the sentimentality of Victorianism, and on the other the cold formality of the era of miniature temples, is deeply founded in the evident purpose of American artists — sculptors and architects both — to think clearly, to feel truly, to face each new artistic problem with an open mind, to strive in each new creation to build or carve or model not what is fashionable, but, as far as con- ditions and their clients allow, what they truly and personally feel. This tendency marks a triumph of personality over the herd, and it is itself but the expression of a deep national movement towards a better proportioned attitude towards life. ‘This is a movement that is veiled behind all the hurly-burly, the falsities and the crudities of advertising, industrialism, and modern business expansion generally, and that appears with con- stantly increasing strength in religious controversy and in the development of an Ameri- can satirical literature. It is peculiarly fitting, therefore, that the two outstanding monuments of this new restraint, this new and deeper emotionalism, should be, one, a memorial of the World War, and the other, the national memorial to him who seems to many the ideal American — Abraham Lincoln. The Kansas City War Memorial (No. 550) is notable not only on account of the design, by H. Van Buren Magonigle, that, in the competition, was placed first and is now under construction, but also on account of another of the designs submitted (No. 552), that of Bertram Grosvenor Goodhue, of which the immense scale, free style, and com- pelling emotional power have a true epic character. The Lincoln Memorial (No. 554), more conservative in character, shows that emotional truth, emotional fitness, is not a matter of mere style. Emotional power in design is more deeply founded than that, in the larger matters of proportion and scale. For although the Lincoln Memorial uses forms once Greek, its perfect colonnade, crowning with gracious dignity its massive base and, within, that mighty statue of the man from the frontier (No. 556), flanked by tablets on which are carved his two most famous speeches, seems, as it shines so whitely above the surrounding green, to be an almost perfect embodiment of the candid integrity and power of Lincoln himself, and of the deep quiet reverence in which his name is held. There is a class of memorials of a different character whose importance in the de-PCE APE ORE PT pee ak Ip ee PE cee ye Tea ELT Vado re i bil be . er ped i Se fa! a) "Vere Se Pea WY i \ : edad” | ry ai r SPU SiO eR ae esc Te Beha eM OF a ee Ul Piel CU ieee Ad UPD cee, ere) OS UU Ue int Ae i Sree) ‘ Park eto oer 4 aed Se La ee By Date bie | fy Le Bey py or So heey” i z A MEMORIALS, MONUMENTS AND EXPOSITIONS 221 velopment of American architectural taste has been oe — the great international expositions — one (1876), Chicago (1893), Buffalo (1900), St. Louis (1904), San Diego (1914), San Francisco (1914). In these ase buildings utility is a second consideration; economy is forgotten. Built for the most part of temporary materials, some purists would deny them the name of architecture entirely; yet in a very real sense they are the surest expressions of American taste in architecture. They are like great myths, the creations of a people’s dreams; they are architectural folk lore. And just as dream-made myths may become governing factors in a nation’s life, so these dream-created architectural fantasies become guideposts for national taste. To them flocked millions who saw what beauty might be, saw, glowing in sunshine by day, radiant and jeweled by night, what color was and ordered form, and a great conception expressed through the harmony of multitudinous and differing parts. Was it strange that, so impressed, these millions returned to their homes filled with the dream but, mistaking the style, the detail, for the beauty, tried to produce the same beauty by using, however stupidly, similar details? The Chicago exposition, with its rather cold white monumentality, was the direct result of the new classicism of the American Renaissance, but it was also the cause of a new popular enthusiasm for the classic that became almost a slavery. Buffalo sang with a lighter note, an exuberance ot fantastic pseudo-Spanish character, that was similarly the result of an intellectual movement and similarly a cause of its wider popularity. St. Louis, with its extravagant modern French baroque, its curve d lines, its heavy and ornate classi- cism, not only expressed but also helped to popularize and propagate that love of ovals and cartouches and all the trappings of some types of French design which characterized the first decade of the present century So, more recently, San Diego, with its brilliant Spanish Re naissance, whose simple wall surfaces threw into magnificent prominence its richly jeweled details of doorways and tower, was a result of the modern movement tow ards a new localism of style, and helped to show the fitness of its style for the traditions and the climate of southern California. But it was at San Francisco, in the greatest exposition of them all, that the dream character was most clearly realized. ‘There, Americans saw for the first time their srowing love of color embodied, saw color wedded to architecture, saw their loved classi- cism blossoming into a new freedom, breaking suddenly into brave and laughing modern- istic fantasy, daring to use dramatic contrasts of plain rich-hued wall and magnificent colonnade. There, too, they found everywhere combined with the color and the archi- tecture sculpture that was instinct with imagination and with life. The whole was classic vet free, restrained yet dramatic, majestic and beautiful yet human. It was the deeply- felt dream of modern American architecture. Ae a tere ee re) Py Dy ae Dr ve ay ete cnet APY j 4 a sy Sg ose A ae "a's & os i r 4 wen SEEDED ESEPEOREDE: tla Met tere whee rt ry Zn hee Ta F ERY os PEPE o ye rr te a ote SEUEESER EF RDE Narn Yo rr ty py BA CN opt eles Loos pareererres Ce oe A AS ie yo ae Sy Fas, he ee tk ee m Ceres Ca PA Coe eee ee eee Le eae PR Re eee en Pest NT UTE Oc tot ee Te Th \ a ome et, he ee Pr A ie ee I rs ~~ “4 it ex Le vga > uf ad “J : a 3 aN 4 in “i p f 4 * | a) on Pak ‘y C? —s pl eg hs eae Sys ou PETER PS Tg ee) Pat Po) al ZZ eed yo eee eS SP 52498 9G Fs od PES og ee Py Oe eet tk er ete ee Pe ne he er ed - a or et ee AE ee RO 3 Ow eam a ee ee ed ok Leet eek neal rer oe 5 ae re ] RIF Ts 5 ea ede i ee ee eecf iy ‘ Fe a a FR z ee 222 THE PAGEANT OF AMERICA ci Hi COLONIAL GRAVESTONES . Earuy colonial gravestones, which are such a ae . * 2 * 7 Pe dominating element in the picturesque atmosphere rE = a of many an old churchyard along the Atlantic coast, ¢. * , * . ¥ have a twofold interest. Their value as physical | . » * . . . 2 source material for the study of colonial history is ie unique; unique, too, is the appeal of their intrinsic ye charm and frequent quaint beauty. They are often he . : A i | made of slate, but a red sandstone and a white native i rT. . i | marble are also common. With their curved tops, ee | frequently adorned with a crude, flat cherub’s head, Oe ' . : + ~ . = . a sometimes with a weeping willow, sometimes with a ‘s | more lugubrious skull, they have frequently borders “a | , ; : : , 6 | of Jacobean ornament. But their greatest loveliness & lies in their lettering, which is almost always instinct i : : re with great beauty of spacing, shape, and cutting. ie . : ts ne a ie i Typical of these is this stone (No. 527) in King’s XY . x ° a Chapel Burying Ground in Boston. es | hoe Yet ie wf \j ie Ake * J\| u, i Gort + ‘ ™ oy . a ™ : Se r* - ‘ee Vow — : _—— Sr PT te = a Ss oo Trt. a Be oy PT re ets er ee ke eae S a) H vA 7 ao Pore 2 530 York and Sawyer, architects; photograph by John Wallace Gillies THE MARY BAKER EDDY MEMORIAL, CAMBRIDGE, MASSACHUSETTS WHILE Greek in its inspiration, the Greek of this 4, eT . a memorial (No. 531) is of a kind new and peculiarly Shane interesting, for instead of using merely the conven- aes & rg Se A ae tional acanthus leaf, every particle of the foliated ornament was studied from native New England plants, so that the whole, preserving the virtues of the Greek inspiration, is endowed with a new interest rs = . a pee 5 4" ee wae Py * . . i od en) S 4 i od | oa - ay oY ef ow ag " evi : f ss and a new beauty that come from the freshness and 531 dgerton Swi architec i : eae ahaa eget intimacy that these well-known forms give. : ee if wut P; * rey Lae ee ts Pei aie v.84 oe, y F Seen Cp PPh Opes J ~ PRN ey et Pd ey Pe ary At. y* Dee ee, a a SOFT ia le poy § ~« o a ei eG weer ee, er er 52 ——— Pa = q Fd yo 4e oe eo ae TL aia ae aed hal ck Le a Sie i etry) ae eee 532 3 James Gamble Rogers, architect; photograph by John Wallace Gillies THE HENRY ROGERS M ALLORY MEMORIAL Mucn freer in design is the Mallory memorial at Greenwich, Conn. Here is the skillful piling up of simple ° . ° foe x 5 < x »} sq tliat. c r > : > F lly rectangular, which gives such a dignified and quiet repose, such a satisfactory sense ol ry, 3 2 es Fe farts > 5 te ee cae OO” ae t 70 Pet Te ee A masses, principa solidity and power. The contrast of stone and foliage adds to the effect. a Ate 38 ee, 2 a. ea ta 1 a ee Tt edVa Seen ete reese) tee ek So ks) ae 294 THE PAGEANT OF AMERICA THE WAINWRIGHT TOMB, ST. LOULS, MISSOURI Tus is another non-stylistic tomb of even more pronounced modernism. Its dome, to be sure, set so simply and strongly upon the cubical base, has a con- tour that might suggest a By- zantine or even an Arabic pro- totype, but the ornament, so beautifully placed in strong and simple bands, is of that typical delicate intricacy which Louis H. Sullivan has developed, and which is a distinct contribution to the development of American art. a ee ein MOE eMC hie ne Adler and Sullivan, architects; THE FARRAGUT MONUMENT, NEW YORK Tuis notable memorial to a famous sailor is to many the most perfect blend of architecture and sculpture America has produced. Although it is distinctly a non-stylistic work, it is flooded with that special dignity, that combination of grace and strength, that is truly classic. The way architectural form and feed bled bated 1 ehh ele S MIE Sines beni het lahat sat uieraain abet eel ob hin se ele hat Cie tw ‘ a a ea pat an il Cita ty ed an er . a a = rr) me " ~~, 8 ia e - yr - — x ] ot See teed Senos - a a a a RE ald rink el ee el a Pere een en eT w / sculptured texture are interpenetrated and _ the peculiar and gracious appropriateness and_ perfect A Ee ely | placing of the ornament make this monument a masterpiece. q. is F] aoe i Cap Pip iY = | hae i 4 4% H To ee a ul ree e a eal td ey oes bh let on ba eat diated Late bend Nhe dee thee te Pn en) eet ee eee lit na ae al 5 s me 4 ey Hk art mica St Le haa = a “ A “ A as an -— oe ee Sy ae, Ee, fee eee 534 McKim, Mead and White, architects; Augustus St. Gaudens, sculptor THE LINCOLN MONUMENT, LINCOLN, NEBRASKA THIS imposing monument has blended sculpture and architecture equally well, but in an entirely different way. The simple, thoughtful figure of Lincoln against the perfectly proportioned stele, with its beautifully | lettered Gettysburg address, has an effect of tragic en an ben tml edi it Ne ee heel bade Bel 8 8 ee oe ee ns OO rer Tye Aa Bee :. aoe pty > kA oben ee oes “+. + 4H ‘ & 2 ra Se . SPS and appealing dignity. 535 Henry Bacon, architect; Daniel Chester French, sculptor Rod het et er ee or re xe tt, ee ~ ped ~ a) = a * one 3 oe aSy UC ieee LAL oa a | MEMORIALS, MONUMENTS AND EXPOSITIONS 225 THE SOLDIERS’ AND SAILORS’ MEMORIAL ARCH, HARTFORD, CONNECTICUT Americans have built triumphal arches, also; most of them temporary, like the Dewey arch of 1899 or the Victory arch of 1918; some permanent. 1t2is an odd fact that the earliest permanent memorial arch, erected in 1885, is not Roman at all, but in that strange mélange of Gothic and Romanesque and plain non-stylistic picturesqueness which character- ized the taste of its time. Not without a certain fineness of outline, it is in detail strangely awkward, and the band of relief that is its main ornament cuts the whole unpleasantly in two. —— re an - ~ ——_-— : oer tas tr a4 i ci ‘ : gGouz pi tf RON ee . BAD eae Tene pe Sica Rad ty POL Pn we 2 Bea is S oy peer sh) et g EAs ue Maidag sna i ee Ly “Mites « Mh ie P OP ote Mors PE et aby in” Oy ie ee +! DPC aka dee’ Sa > <<, Pape, Aer Ke a Ream e . tl ee Vera pd wes + SR «, Aa, > Sy yet eS Fs et 537 Robert Mills, architect; © Detroit Publishing Co. THE WASHINGTON ARCH, NEW YORK Tue need for economy has prevented imitations in permanent American arches of the lavish carving and ornament which distinguish the triumphal arches of ancient Rome. It is the consequent simplification of every detail that makes the Washington arch in New York the best example. There is no ‘order’ ’; merely a simple pair of piers supporting the arch, a fine cornice and inscription above. f Tr “ake vate ‘ oe eS ge ra eae ) | Hed re | * 6 4 ans 3 , | M / Bs I i \.7 ai 5 Py‘ 248 ” } ~ THE WASHINGTON MONUMENT, WASHINGTON But there are other monuments in which sculpture plays no part at all. The most famous of these is the Washington monument by Robert Mills, begun 1848, completed 1884 by General T. L. Casey. Its effect lies entirely in the delicate tapering of the great mass of the obelisk — pure geometric form attaining beauty by virtue of its perfect proportion. In the very fact of its total lack of ornament there is a commanding dignity, a mighty strength, eminently fitted for its purpose. its ares pa es , icamuntiun et ; ndypenee ioe | = poe hte =: : ho oe) } we Rey ray ae Nets 1 1 4 . ey 1 ( (7a G7) nt : om Send 9 i is, a ere a Re Ry ioe nme 538 McKim, Mead and White, architects; photograph by Wurts Brothers eS) a LOO Ty 6g OO Le OL ere AUP and ay FT PPI at EI, md ‘ rad Pier ty PAD a 5 ee ae ee * eft we hy eBEE as iio moka! ae . . Ss rie tb - ~~ iJ . ~ ee (aa Pere CCT PLOe Cr tants Ce area TE SB Woe er hes te. ~ as ui Ta i ct er eh teat coee Sse *— a? tit. a Sera 3 re vs PUP a. ? oe PS a en iu. ee ee ed PR ee eee Tyee Pr os 5x Ay r) a. i m4 RJ J » &, | t ar Ay be a har te i Phas parted pea Ae he ee eed EN oid ~ Tre 75 at tL wad Ne ears erry ra a Ge a op rd x ay eT Ts S25 27 a 7 J ene Pe er P&S = Sa ee 54 Ae CMe a 7 se 2325s 9444 ode ht ee he *% 7 a oy St St $5 re) a Sta to are yt aed Bd Ate ee tee Die ee eee ee el 7 i poe = 5ry beim bali SL rots a i LHe boda Vint alae hid Rhee td aed hele Sosa ibe Nh ther od ech LL yess ae “ei er ier . y) taaie bt Ce hentai hare did a = A ars : cs iF Le ‘ i ag iJ i} es Pe Le ae Ww an ; 4 Pp is a, he | 7 a Ke Get + iE Sa ie a } i: ry | Foe s ie a dete eT Loe Le thee Bh bk Ls ee ed ct kd he tea nt SI A Fe aS na & x ~ i es heel Den Seah Sah Le heh eee hata Leen Need tte hi tae Pha eae ee eee rs . . a’ get n~wm" a aes No he oe Soe et ie ie bach Stee da hater le hd Dea ae Sean Yi x att te - “4 Pat or) - ~ Lie - . ” “es — eee, Th oe - ‘ ig + a * - it a eS hy ee a - > fe a — ca 226 THE PAGEANT OF AMERICA a nope nial. Queen ce! DR DIEG, cra ee rae : " CaaS - AA Ae pa Peta hinpe tibet it So kedat i Paer ne mb onf ee . pan aed Wise ac ee ine ae 5 cuneate titan ee a McKim, Menai and White, architects: J. Massey Rhind, sculptor; photograph by ety Court Studio THE McKINLEY MEMORIAL, NILES, OHIO TuIs is an example of a monument that is a real building. Its rather cold, careful, refined Greek ‘lassicism is full of dignity, its proportions and detail impeccable, but somehow it seems lac ‘king in feeling. This lack may result from the rather questionable appropriateness of the refined and delicate Doric detail in a memorial to such a practical politician as William Mckinley. nee | | aN foe | | ~ . J Blain FOS Spe “e a? EX = 7 , ~ un C7 Zs2A=FS 82 SOE i SiN ay ki quveSnaksee PORT PR aden tbikcsarraerse Tey Se Oe wrEreerere, onf es be a ee i} g oa Sd a Q . ef > CA INS Ae eT ss = ‘ \ 3 Yamato ie s Speen fe nas SS oe t= Miss i Acc TED BY-THE MUSEUM [2 , INGRATEFULREMEMBRANCE | 0 Vi, OF ie SERVICES-OF , JOHN PIERPONT #@ MORGANE 1FROM-1871-TO:1913 a By) ASTRUSTEEBENEFACTOR bam Bey =AND-PRESIDENT. arf. HEWASIN'ALLRESPECTS eR 540 ‘Detail from the McKinley Memorial. McKim, Mead and W mre architects; J. Massey Rhind, sculptor; photograph by Trinity Court Studio | MEMORIAL TABLET TO ; by Da AGREAT TIZEN:-HE FRaaNg | JOHN PIERPONT MORGAN ! ie THERON METROP SLs RR ah is / OPO] . “4 : x | BRD OFAMIRICA-HISIN TENCE Tuts tablet, erected in the Metropolitan Museum of ned WASLIFELONG - a sail x se x a DCO VOTION : | Art, is a striking example of that type of memorial \ , PC DED WO ) . . = | p HISMUNIFICEN TOI Ba which bridges the gap between pure architecture and ie THE:MUSEUMAREAMONG. (if to : pe (pe er Be ek Re cts | lk ITS: CHOKES RONG pure sculpture. With a form strongly architectural, sa VITA PLENA LABORIS with figures of the greatest beauty, simply placed, ae = ae and with lettering instinct with freedom and person- ality, it isa creation of great delicacy, restraint and ti Le, Be tae TD ere ve ay SS aaa DP eS Ae = 3 a ; | Greek sculpture and ornamental detail is obvious. | dignity. In it is revealed a quality characteristic of | much sophisticated taste the self-conscious love of archaic forms — for the influence upon it of archaic 541 From the tablet by Paul M: vaship in the Metropolitan Museum of Art, New YorkMEMORIALS, MONUMENTS AND EXPOSITIONS | | pseudo-Gothic base stands a cast- | iron, sometimes even a stamped | sheet-iron soldier, modeled with- | out art, without vision; in front | 1s a pyramid of cannon _ balls. The whole is awkward, frequently | il-proportioned, utterly without | imagination, and the figures, pro- duced by hundreds from stock patterns, ostentatious, listless, crude. WORLD WAR MEMORIAL, LANDSDOWNE, PENNSYLVANIA In general, the memorials built since the World War are in vastly 542 From a print, courtesy of the J. L. Mott Iron Works better taste. This one has no ostentation, no attempt to at- tain in sheet iron what one would like to have in bronze if funds were adequate, no stock soldier. Instead, a simple shaft, simply crowned, simply inscribed. Ornament is sparingly used and every bit that is used is packed with real meaning. Proportions are carefully studied, and the result 1s a monument of lasting beauty, eloquent of the restraint of true emotion. 543 227 | THE IRON SOLDIER OF THE 1870’s | Tue end of the Civil War gave birth to a flood of soldiers’ monuments | throughout the northern states. Unfortunately, the deplorable taste of the | time prevented any adequate expression of the sincere emotions they were intended to commemorate. Instead a universal banality is over all; on a eet = Clarence W. Brazer, architect —— THE SOLDIERS’ AND SAILORS’ MONUMENT it > ie F a. aes de : = + 7 “ eo) ae the impressive and dignified figure. Flag- pole bases lke this offer a great oppor- tunity for monu- mental treatment. A VILLAGE WAR MEMORIAL Tur earlier soldiers’ monument at Whit- - ——- insville, Mass., shows 544 Cass Gilbert, architect; Paul Bartlett, iy, . sculptor 2 similar restraint, a similar simple beauty, in a small village monument. The eraceful curves of the triangular base, the three Ionic columns, the crowning eagle and the lovely low relief tablet on the front, all are marked by that delicacy, careful study, and loveliness of line and mass, which make for calm and quiet beauty. AT DULUTH, MINNESOTA Auruoucu larger than the Landsdowne memorial, this (No. 544) is characterized by a similar restraint. Simple dignity is its keynote; there is unusual harmony between the architectural members and A.D. F. Hamlin, architect; sculptor ape TEPETEPEPRESESIERT (35.5 REDE R TEPER Uae ht ta hs Ulan AG sy Haman? es Tee oa Tar Sa U Cyr 3 = TSS PoP Sere aCe oe! St SBE Pt tele Tors f. ert) ~ a Pr Gea at eh, & isnt i aw rN Te =~ (Tete ed Lh posh Oe ON, ei Me te te bk De UL Pee TL Dice th P| mi he eine 7 Sta ae ‘ Cd . * & oe ae ° us ot a on eo 5 eee rey 5 ” we -~ a te -. eae pat a eo Pe ry Pe OL ESL Pte eee ee re os ~ 7 a oS Go 2 Sey aS he) Ne * rod go, “ oj 5 7 “se * a. Soa oe eo UN ed ed te - ees: 5 gens ee ta bd ad 1 Th Per wa eer yd _= as i. Se a ae * 4 2% 3% 2." ll a - ~! a 7 Mr ol ha tk ~ “J . 3 oO cepa ie Pe oO ~ rr oy = o : RSE ELEMIS : pe tg at. ie ae Ale may AA S Me td 1 i eee Pe ee ys" Sop bs oa kaa ie eee ~ mT) ‘é a eeds : - < , CD me a oe Sharia aaa ered ere SER Teka Nhe NS eV ee en Pee Bron bela hdhni Nl i ait Sterna ha ie ethan eta hol Lat ea ed ar a altel tn ual ie ad ee er er D Set or tpt he abt tae 4 eg te No ag hi - Ps 2c 4 se fe ORR ee ee Re el ee ea a RE ee rk aes 8 re A te es I tas ae e ve fs ee 5 * = * 4 Sa en oe % ~ - = SP = ' ce ee abe metabo het ind iret eer et te bab Uel tate © Pe Gar oN ae PT oP cpr pre, tk Ste Dela bee teh woe etl ACE ET Tet a enh ee en, eel ee Te ~ - A. Ree oe: Y _ Steet a ror) a ee 3 ee atten 5 ri ED =, “23 45 : rere Eyed Rothe Sie edt hel helt ee ok Dt tt te Sten Lahde er a bl el Sahl hal ato hl elon ont one Ee es pk Sy hn i a 2h rag Ae aoe ps 3 en OE cha ee _ Pe i.e Py “ * > in| - ~ - ae pe ss a ee ~~ a > a 228 THE PAGEANT OF AMERICA SOLDIERS’ AND SAILORS’ MONUMENT, ON RIVERSIDE DRIVE, NEW YORK In the design of this monument the site plays an important part. Set on a rounded bluff overlooking the Hudson, with a terrace entered directly from Riverside Drive, it lifts its graceful many-columned height into the air most effectively as seen either from above or below. Its beautiful silhouette is a striking contrast to the squat heaviness of Grant’s Tomb farther up the river. The detail of the monument is of an eclectic classic type, strongly influenced by French traditions; its main beauty lies in its con- ception and its proportion. a os ad rr of bent th ees Pi pee ot eeoeata at TART OATH. Set 546 C. W. and A. A. Stoughton, architects; E. I. DuBois, associated PITTSBURGH SOLDIERS’ MEMORIAL Tuts memorial takes the form of a great auditorium. In exterior form, like the Washington Temple of the Scottish Rite (No. 724), it is inspired by the famous Greek Mausoleum; but in detail it is wholly different, for its Doric order is Roman in character, and its base, influenced by French modern work, has a heavy monumentality, a coarseness of scale that is the opposite of Greek refinement. The colonnade, with the pyramidal stepped roof above ck ee : Py be. ef IS, however, markedly Impressive. 547 Palmer and LOE nD Ostel aT photograph — rinity Studio - bf he oo Hy eet ee et et fey ‘« - . f ; TO ee ays Teer ere re ed eae ee ee Tt tm TAP 548 Blackall, Clapp and Whittemore, architects LOWELL, MASSACHUSETTS, MEMORIAL AUDITORIUM. Tue Lowell Auditorium is a more recent example of a memorial amphitheater. Its exterior is extremely dignified; large, simple, with all the dignity its severe Roman classic forms should give it, and the sense of integrity which the frank expression of the elliptical auditorium within produces. But one wishes that economy had not forced the use of buff bricks and cast stone for a building of such monumentality of design and purpose.’ u . LF Se PE le Poe Le et Pe APO 1 sf (Pt eek U i i i | | i \ 7 ; 1 | i, / i nq a $ a y 5 ; RL ne Pee UPLB er OA Ure CUPL. UPI INL a aU el i DLV ALY sea A MEMORIALS, MONUMENTS AND EXPOSITIONS 229 | aaa eens — NATIONAL MASONIC MEMORIAL, ALEXANDRIA In this monument at Alexandria, Virginia, the architects have pro- duced a design unique in many ways. Of marked classical feeling, and with details of both Greek and Roman character, the general idea is utterly new, and in developing it, the novelty of idea has compelled much consis- tent novelty in the treatment of the classic forms. The varied rhythms in the spacing of the columns in the superposed stages of the building are particularly pleasing in their freshness. It is designs such as this which show the developing freedom in the modern use of past styles. AST aa 12 a Cn eH oe ey y ‘ j be .— . al oe gee EE fi Ag 1 oe, Tat Lee ene heen cost ash aie 550 H. Van Buren Magonigle, architect; © by the architec LIBERTY MEMORIAL, KANSAS CITY Tue climax of modern American memorial design is to be found in two designs submitted in the competition for the Liberty memorial at Kansas City. One is the winning design, by H. Van Buren Magonigle, the other is the design submitted by Bertram G. Goodhue. Magonigle’s design uses some forms of classic inspiration, but the controlling idea is not classic, nor Gothic, nor Renaissance; it Is American. It is a design of great emotional power, attaining its effect by the boldest uses of plain wall, cubical composition, and a great shaft rising high to be visible for miles around. THE GREAT SHAFT OF THE MEMORIAL A PERSPECTIVE view shows how the great shaft springs boldly from the cubical masses below. From its summit is to spring always smoke by day, fire by night. Here is no academic scholarly re-cr sation of the past: no cold and aloof product of a cloistered mind; but rather almost foolhardy — to take the pent-up and an attempt, brave sentimentalized emotion of the whole people, repression, noble enough to overpower any sentimentality. eis eae arene pare t | See ete ee pk er re yor "y a Pn Ty eas i] pee Te ee ar, * vet yy ECL) sy ee. — 0 ba Ns Pe a DL Bel ee ek ed 5 Y “i rage (A oe dna fw) AS rd < > Pada he Sa Vee te) ~ ee eee aS Cees Ce et Do ba od allt -rand Pn ee af pe” >o> i oe ey eM al el hd Sa a 7 AY +g oJ , so ie lat Oe es Or a pea eS Say tong / SPI a4 ye Ty ye 5 Te LSet fata! ete tte a ee i.e rr ae: if ie a 2 rea ors Ld: | er s Deck deeh) Ay 3 230 THE PAGEANT OF AMERICA Ried eres eer eee ete ea - rw - a ‘ ot hs Poa ana riared rede tei Pot dor ia senha be Ped heh y inte) Wiel ee eed a ek eee NTS 1+) a = 1 x=" + é eri 6 ve ~~ eb) oon , ie 7 Ee ae ee i fm ae Lie F a < a) Ne s i [ . ella — ‘ pe 2 tS a ey Ae cee : Se PW Th oy to a 552 Bertram Grosvenor Goodhue, architect; photograph from the architect's rendering THE GOODHUE DESIGN FOR THE LIBERTY MEMORIAL BERTRAM GOoDHUE’s design for the Kansas City memorial, like Magonigle’s, uses freely forms of classic inspiration; like his its governing idea is emotional. But it is a less theatrical type of emotionalism that is present; something more reposeful, more serene, and for that reason perhaps all the more powerful, all the more deep. Its great pylon, in which architecture and sculpture are inextricably blent, builds up with pees Sleek bed bint bel whe Re tae he eee tl ot A Ee re, aA 0 o i ee . 5 ete A Pa = magnificent dignity from the surrounding buildings. Lia THE MEMORIAL FROM THE SIDE A SIDE elevation shows Kae a ace eh Fiero) <= ne pi ase a! well how perfectly simple forms are used in Good- |= hue’s design to give the Bi right emotional atmos- phere. Great masses of stone with arched win- dows beautifully placed flank a pilaster decorated wall; buttressed retaining walls terrace up the hill- [& side and give triumphant 553 accent to the towering side of the pylon. The lack of cornices everywhere, the rounding and softening of edges and corners are most important in giving somber greatness to the whole. oa SOARS THE LINCOLN ae MEMORIAL, ie 7 WASHINGTON By many considered the most beautiful American me- morial building, this monu- mental shrine, containing the great statue by Daniel Ches- ter French, marks not only the climax of the more con- servative tradition of monu- ment design, but also per- yet i a a, ee Sc i’ ; : +e Pi ‘ St: 4 be: ie a es ms ee oe / g. fe bi i Ae . é: by te eal ee dt : a gt ihe Bertram Grosvenor Goodhue, architect; photograph from the architect's rendering ~ q hai at th oo ae » no OR Rak aS = to. ye —< ’ > a) whe 7 ST, era oe ad PUT etc aR - , ns PS er eet oF heh SS ee ee eg Pee er So a e et - 7 a ae xy ee ry ey Pe ree eS 2 a o a: A ot) a as pes a > 7, pe ey oy oy i er 7 ¥Fiy - = 4 345 : rs Se od Soe SE StS Ce ee) et de * - Cf , - . “ ye eA ee ne e 70 yo" Sone ee te oe ee ee oa ya > Pee eye ee) ee ed a al ear. 7 Pe a 7 a a py A 5 * Te So yoo we (RPT eo: ~be Lf nies ha Ve lees cen uUtocnte PEN ule % ae er ; “¢ ore f 232 THE PAGEANT OF AMERICA ya ess pete ata: b. emery ; fer nah a TR aa a iM iy a L Bey ie a Pe pod ete ey eee ee ent - . " - bee aha A hs took aos y bp th paar dae t eit ee a \ be hey ied tol bleat aee ebed LL Lh cll ee Leh beet . - Pee in FS Pe I S Ano = gh Hs ae A “ a . 558 “4 ] ) From a Sa showing Sart of ree mR eaacibal pulldings THE WORLD’S COLUMBIAN EXPOSITION, CHICAGO Ir is impossible to e xaggerate the importance of the World’s Columbian Exposition in Chicago in 1893. There, for the first time, millions of Americans saw a magnificent extended group in a unified type of architecture; saw the mass effect of simple and monumental classic detail. Although cheap and temporary in material, although the fronts were but decorative screens surrounding vast trussed sheds, which had little real architectural connec- tion with them, although the detail was often overwrought and the ornament banal, nevertheless the ranges of arches, of col- umns, and pilasters, the vast triumphal entrance arches lining the lagoons were so superior in restraint, in monumentality, in large scale, to anything that had preceded, that popular taste was deeply impressed. co i . a " Anan aka Scar Nie ci ee el nat bterhin thelr erie Tate hs CEL RNa een Pe ee rgd een e & i ‘ By 5 bi oo a we Pe 4 ath iy 3 Rees a ) ;: el ie eee fj y, a, 4 yi t at rin Pir a THE CENTRAL BUILDING, CHICAGO EXPOSITION Tue focus of the whole was the great Administration Building. Logically planned to give a great domed central hall, effec- tively massed into a silhouette of great power, the building had a grandeur of simple line such as most of its visitors had A ees Se . 5. tae never dreamed. Its detail is, to the modern eye, unconvincing, unduly French, and French of the modern type. Simplicity was not yet attained. But by comparison with any of the monumental work of the eighties, this building was a striking master- es Msg mean ee 2 “Agee = piece; an object lesson in the potentialities a Eines ae Sar, see s Gee z fey = of_ classic design. a (OIA per oreoa rma tery 559 Richard M. Hunt, architect; from a ROLOTTATE ee orf | = - “ hehe ties ble bene : sp maddy SoM el daa hat se dicta sen ah SOB ETS PA Nae aon at wd sk iat he Ee i... - . TAs ° + at See = a ae pS s an a aA Rat ome beac has eee et rs ~ - ~ t = -. . a ~ = “ 5 fry Fs, Py iS - 5 on. > 5 a S hya ee — ~ a) a Ss nt 7 A _— e Sameates ln —- ~~ os ~ ~ ~ ~ ~~ - wp i? — _ al t * Ae ad ‘Sayr ER PEP ORE tay fi eT ee bal Due ae MEMORIALS, MONUMENTS AND EXPOSITIONS 233 wee en ae ENTRANCE OF THE TRANSPORTATION BUILDING YET one of the finest and certainly the most original of the Chicago Fair buildings was a non-classic building, the ‘Transportation Building. Its great entrance — Mer mrE rt rer te tie Cb str recur hers ne S rs the Golden Arch — was popularly im- pressive too; and kept alive before the popular mind that fine free originality in design which all of the late Louis Sullivan’s work possesses. In scale the whole is masterly, and the ornament has delicate scintillating loveliness, though the reliefs below are strangely banal. But even the success of this non- stylistic building could not prevent the great wave [| By payed | SN Seaae of country-wide enthusiasm for classic design which si Ec a i a ee ee a i followed the Chicago Fair. emer memes END ~~ “NY rhe ne | “ Seer 7e Ly, TEe PCE 75S est, Yep Ty SIMONA eb a Dont er ih ate: bot ES fas sae, SR Ee = ae eis Sapeermernny SI E Sa a Y 560 Adler and Sullivan, architects as THE BUFFALO PAN-AMERICAN EXPOSITION In the exposition at Buffalo (1900), the increased freedom and imaginative quality of its buildings SX * Fer re] Pee eae ee uJ a Src e se en marks an advance over the more academic classic of aes ee the Chicago Fair. The climax was the great central “Electric Tower,’ with its flanking colonnades (No. 561). Owing something to study of the Giralda, - eet Sey rae | a in Seville, it has nevertheless a charm of silhouette 1 aw er ay Ps Spel ion oA Yoon seer r and an exuberance of detail all its own. f ‘ 7 | 5 5 he = met THE LOUISIANA PURCHASE EXPOSITION Ge a: Ar St. Louis in 1904, the exposition buildings were the Cr cai -) > oa F) - (- Tag ay — 7 ~\ ¢ ES i aaa » Sony f eal C x ee, a eo ; rit ™ A eo de —_ . 561 John Galen Howard, architect; from a photograph ai — 5 AS = fr ee7 oe a aay tnt ee eet i : : : 5 . see : ef — ts—> 2) culmination of modern French influence in American wk ol As) i) architecture. ‘This is true both in general conception Pd > es and in detail. The great sweeping curves of the ae Cy ra Cie whole plan, the luxury of the ornament, the love of broken lines, and varied curves, all are typically French "7 re) i * - * " rs a > ty . eel = yaa ad yy PAV OT Se eee features. Yet the result, with all the studied impressiveness that French planning gives, was too big, too obvious, despite its richness too cold, despite its curves lacking in mystery, Intimacy, charm. SS ee ———— “ $$ ss co Tus, Bes Bs 43 . St aS ree ee ee De Ls ee ad - } 5 Y A nia “a } | jae i f Orth 4 + 2k Bee », 18 foot we | { el ‘ “ee amy Bae + os be ~ 3 A a oe | 18% perry errenty ph +a ‘oa per aT ET i i ew hee ei 0S - be \ ie ad ye | “wis VL ert a > ~s Want panes ' Bo teat ' fovieo Pees alc etal pein x pineby ~ ‘a , mak ETO CT ; Cy AY ot Ub g ; ar , a a a 2h eee Ann's Sota Fy ae ee oo Pee Pee TT pe “> = oe as ay 562 Cass Gilbert, architect ww) Gest ft 5 yo, ye ™ es i ee ee ee el EES a ean pe ed' | Vi \ THE PAGEANT OF AMERICA DDE Dh brea Rl bi nt ; Pes -——= A ns ae ee eat eo A riser erent Sy bah ; were 2 {6 1S en isaac NIB 1 cea en ia) phi peed ices t 3A a dae * mS =) 4 = , * + nee ee Ew Ti Ph S i ) - od . i A tee be he ee eee ale tae) ee i airs ee eed = ao — 5 Pe Po ; bY a nt em ate ee rebate tol hin Uae hee eT Lela b Tn tel tale Ten Teel tens c ‘hin eae Si rth i ar fa, Bt ae fy mii ya Sars b Dee Ms ne ee ee ote Pad, ate 5 bleed toler Yeh eed ede Ol Ld UD ae hve A S 5 a Cass Gilbert, architect; photograph by Rau Studios, Inc. Or se heed or om Ww el SS « ~ THE FESTIVAL HALL, ST. LOUIS EXPOSITION AN examination of this building, the center and climax of the whole, with sculpture It is too ostentatious, too restless. The crowding of luxurious detail blurs the fineness of the underlying composition; the curving lines of the fountain, the steps, and the planting below, produce only con- fusion, “brain fag.” The whole is “paper architecture”; it would look marvelously well in drawings, but in execution it fails. The American taste has to-day an under- lying and controlling love of restraint, simplicity, personality, some hint of mystery or romance, that by its very exuberance this building fails to touch. by Augustus Lukeman, reveals the reason for this failure. 4 (Loe Ne beh Le et y Se Asin sw i ican t : a ee ee ‘ ae ‘ eas pen dase hase) Ati ome cae rr ae ee el eed "se a « ee & a? -« - x . 7 fe Spe te mr pe : re Da at it th ante No htt Vala een olen in ee eA aA Dees 5 Set 3 bets dain Sa Ulin oss eed = i. A ee CALIFORNIA STATE BUILDING, PANAMA-CALIFORNIA EXPOSITION As always, the two expositions held in California in 1914 were not only expres- sions, but also strong inspirations of popu- lar taste, in many ways prophetic of The Panama-Cali- ~ 1 ry ee development since. fornia Exposition buildings at San Diego, Cal., took as their controlling idea the Spanish traditions of southern California, and used a style based on the late Spanish Renaissance. By means of the contrast of plain wall and richly massed ornament, of picturesque silhouette, of stucco and colored tile, there was produced a dramatic, fanciful character, full of just that personal charm lacking in St. Louis. ns _ h ee Ps Shad, bella ba tr eet th oe ee. Crt ty tr pt naan tie ¥en a A SS Oa Sea reg Nes Rio Sess eas Se ft. a = NN : : 5 - we a. ot a teem “ ie .*4 ia Bae Sa) Porn n eit ta] MEMORIALS, MONUMENTS AND EXPOSITIONS 235 rr A SPANISH GATEWAY AT THE SAN DIEGO EXPOSITION A DETAIL of the entrance of the California Building shows perfectly the turgid, bossed, fanciful richness of detail, so brilliantly designed to catch sparkling bloaniwie 3a 4a ear Sor 7S oe a PEPE EE Ro Abide wind A AS S lights and throw deep shadows. Only the rigid con- Cer be ieee at centration of the ornament makes such richness possible, and produces that effect of dramatic climax which is so breath-takingly effective. It is just this PS oye eos peitertab morph alias dramatic quality which has become such a marked feature of recent American architecture, and just this free use of Spanish Renaissance precedent that has, since 1914, swept over the architecture of southern California. SA Sa Inches NOPE EHS Pe a are yt o 2 he oe oe Ly a SPU ye me TO Pier al oe a ee V2 toda pe yO ae Oe : Pe ie ee te Po el est. "e Paton hen eaRiedl bebe Ith hat) eed Set Dea - ™ _ “ : bir ieee etal bel eaten T The talet a *- a Sat oo me, he eo ta ek] a S J, sh peach ote os ba he a a hha ia eh hee hi ete Sa Bh Dea etn enon Leaner os ot er hated tent toed te the ee af qe grown SPR aS Re ho hk Se aD Se he ee Re es > oe NE ee =} od poe liebe [es « ee ea S sr on cy a 4 Lv < es aati aT . Prt ea met of ltt vb a Fi A PP: A toh Vine tic hte sw Mt tata Nel en Neh ee ie eed te a te al : S a" times Lae Le Nera hen a rt P p x S53 ta aay A 2 hy Phat den oay Sal a ada ta Ta eR ia Nea een = dae etal are CT te ete en te Ae et a Lea H =e Pi, ‘ 3 a * Se 2 ity, Te 0 eh i ae >i 4 Chak Daten eather | ay an t see ee + fe cca aE Se POI i Sr a a ae 5 ~- et OR er tie Se S a oe 5 - x - S 4 CHAP ER XV ITI EDUCATIONAL BUILDINGS HE development of the architecture of American educational buildings is a symbol of the importance which education holds in American life. America was early distinguished for its colleges; Harvard and William and Mary bear witness to the zeal with which the early colonists started the country on its educational way. Since then the development has been continuous and rapid. The thirty years following the War of Independence saw the founding of innumerable academies and colleges; the opening of the West was soon followed by the growth of the great land-grant state uni- versities, and to-day the eagerness with which the sons and daughters of families only recently Americanized attend public and private high schools and colleges proves that the desire for education is still vital and widespread. The early development of collegiate architecture 1s responsible for the strength of its colonial tradition. Curiously, the early builders of the colleges completely deserted the common English quadrangle and cloister, and abandoned the charming collegiate Gothic that was still being built in Oxford well into the eighteenth century. Poverty may have caused this, or some instinctive feeling in Puritan New England that the cloisters and erouped windows of Oxford and Cambridge were “‘popish” and foreign to their ideals. But whatever the cause, early college buildings were square and severe, rather Georgian in style, usually of brick, and often with the ubiquitous cupola. Sometimes three buildings es of an open court or campus, as in Harvard: sometimes the whole would face three sid would be stretched out in a long line, as in King’s College, New York. The colonial style so set remained the usual style well into the nineteenth century. Roman and Greek Revival details are found, but in the majority of cases poverty forced a severe simplicity often of great charm and dignity. Built as late as the architecturally barbarous 1860 period, the Quaker School in New York shows the persistence of the type, and has, despite its date, in its quiet brick walls, its white cornices and its delicate porch, much of the charm of the earlier work. But there were signs of a coming change. period of educational expansion — Victorian Gothic pred most of the horrors which everywhere dot college campuses. Here was a fertile field for chaotic confusion of modern Gothic detail, unschooled love of | blue slate, and ringed arches with red ack of Immediately after the Civil War —a ominated. It is responsible for pseudo-picturesqueness, variety and color, which patterned roofs in red anc and white marble. Picturesqueness and “pleasing informality ~ too often meant | plan either in the single building or in the college group. The resulting chaos seemed to deny the existence of Jefferson’s quietly formal University of Virginia. Modern planning is, however, inspiring comprehensive plans for new institutions and resolving the chaos of existing ones. Several highly specialized style expressions are developing in consequence. Of these, the most important and the most popular is the use of the collegiate Gothic of Tudor and Jacobean England. From Massachusetts to Oregon its monuments are found. Its grouped windows seem admirably adapted to class- room use, just as its formality and intimate scale serve perfectly for dormitories. More- over, the ideal of English collegiate life is strong in this country; Oxford and Cambridge have been instilled into the essence of English literature, and it is not strange that their 236Sr aa IP eT Ie et pe EDUCATIONAL BUILDINGS 237 architecture should have a profound influence upon the collegiate architecture of the entire English-speaking world. But the style has its dangers. To be truly effective it must be truly done; to be done truly it must be expensive. Carving, stone-mullioned windows, tracery, vaults and towers are luxuries; to cheapen them is often to lose all of their charm. These forms, moreover, lead all too frequently into mere prettiness. Collegiate Gothic, therefore, has no monopoly of the field. Pure classic or Renaissance forms appear in many examples. Georgian or colonial types seem to have a charm which only truth to tradition can give. But it is perhaps characteristic of the innate conservatism of many of the higher institu- tions of learning that few attempts, even in the architecturally radical Middle West, have been made to design college buildings with absolute freedom from any historical style idea. This freedom, on the other hand, characterizes a great deal of our best public school design, and naturally. For the design of a great public high or grammar school is a problem absolutely modern, whereas the collegiate problem is not, and therefore new forms have developed to meet it which make all the best school design creative, modern, whatever the type of ornament used in the decoration. School design, like hotel design, has become highly specialized. The most rigid standards of natural and_ artificial lighting, of mechanical equipment, to ensure the greatest possible health and comfort for the pupils, are demanded; to satisfy them is the school designer’s first task. This has been true particularly of the larger town and city schools. Rural schools, like all rural buildings in America, until lately have received little architectural attention. Between the district school of our grandparents’ day and the typical district school to-day, the differences, if any, are only in the smallest details. Of course there are com- mendable exceptions; schools built to-day in Delaware show a distinct and encouraging attempt to apply true architectural skill to the problem of the rural school. Contempo- rary emphasis on the problems of city life has caused this stagnation in rural school building as compared with the colossal advance in town school planning. Scientific school planning, accompanying the enormous recent volume of urban school construction, has sometimes swamped the art of school design. Rigid specialized requirements and universal need of economy tend strongly to the production of forms too often factory-like and mechanical. Light, air, heat, are too frequently embodied in soulless, unstimulating, dead schools. Is this a mark of mechanical ugliness in our entire systematized education, that turns out all pupils depersonalized and stamped with the same die, as it produces devitalized standardized schoolhouses of a common ugliness everywhere? But the mechanical, factory-like, ugly school is not the rule. More and more beauty is being sought in school design not as a mere expression of local pride, not, as often in days past, as the result of the toleration of the eccentricities of an unfortunately necessary architect, but voluntarily, as a vital part of the growing child’s environment, and achieved as a direct result of the increasing breadth of educational idealism. It 1s these really lovely, human, welcoming schools which form one of America’s greatest contributions to the general stream of architecture, because in them is achieved most surely the pertect balance of functional expression, simplicity and efficiency, and pure beauty. Especially noteworthy in this respect has been the work of the southwestern states, of California in particular, where a one-story plan, with the classrooms around a central court or patio has been developed, expressed in various free styles. [hese schools are doubly interesting, not only because of the true beauty and intimate charm of many of the buildings themselves, but also because in them one can see most clearly style develop- ing as it should develop — new forms created to serve new needs; old forms being changed, subtly, and unconsciously, by their new uses. ns $3 - ERP EEE EPS EEE SRPPeRP er Crrcee rte puss < acts SP he Le i J - > areas Pre tte tb tf tary IST ~ a SS ey ee Eee RHO Sep SDE CRE SP He MDNE mits ayes Pe oT hep eh eae no ewer fant 3s FTET; Le Pye nn ator ta at " ee ar e eA a] Fe a} el hl - oh tea Se. ee ee vis PARES fae ee ree Sey ae a =, ad GRIT HE oe a Pe eG SPL te Vere a ea eed oy Dak tes PP ow ows a go Te- 75 - JI .Fe pe tk) ed a oP, oboe SFIS as ae ae ee : 4 rf aye . ms “me t-te) Fost fel* jet ie pee TT Oe ete eh Pe ee ee ey — Sel Se ae ee ew eth ~ ; ow hs ry = eT A fa a Ye “tea Pe pO ee ery ANY DS ig a tie he Pye ae LS: Ad gdet ot be bel iT thera Tee Tatty be es _a = Pk sh = = — ei eek ler ee ce er Dat) re eR os) bibed nk hr mete ttm dt ~ - - Pt ede. Sache . - - at ae a Spa hytacelen bed eemten hana cheered aah aa lol APL AT eS Poesy en. whe 3 * ‘ - . s . A x en es Seah had Vineet bed vie AT be Ses Siete) - lag ary ike So mie ‘ae i ave He 7 B;' Li? ie + ; : aa ae Aa Gy ee rane . pee &; ] 4 Fi Ee te fy q ff) b ( ys is H 2, Fi ie » a >» a ae aka a aes OS ea. at . ae " Ly a ab Pod lth tetinda e hte bch th cB cet ke La ahr iter en rattled Needed das We tea haha Stel hee heals ciate aiatd tenia lone tie lo kat tae heat he eee i . 74 Pa 2 * 4 x z ‘ = : : a Ne ton oe lh te m a % See ona oes \ 3 aD 7 oe ti Sa nie toa a = - ~ a c ka a a - 238 THE PAGEANT OF AMERICA A TYPE OF FRAME SCHOOLHOUSE TIN THE; COUNARY: Tuts old school for colored children in Christiana, Delaware (No. 568), is typical of the simple frame buildings which still serve as schoolhouses for thousands of country-bred children. ea 2 * >) ‘ ~ retest taeh, ba NEA, e * ha . peg SOT ET hy EY eg ie . — =” ee ere a aT ay pelt ee a ee ea owe —_ 4 . A aad 48 a * 5 > | t , eee = fi 4 ms Am A — ie] a c L ee ~ a) ee, nt et ey a 568 From a photograph by the Royal Studio A 1775 SCHOOLHOUSE IN PHILADELPHIA Tue scholastic architecture of America has grown from humble beginnings. A one-room, gabled-roof brick or frame building with every appearance of a small cottage was the early type. The Concord School at i — 1 Germantown, Philadelphia (No. 569), built in 1775, Fe ; e. ri : separ é 3 Be isa highly developed example for its date, boasting Ss eg two floors and a belfry cupola. But the domestic character is still strongly marked. Undoubtedly. the windows originally had small panes. ae yp : ee “hr F at See | as yf a) ec pa eae ome =; —_— : pales a: eS hE ee tae : 569 From a photograph by Rau Studios, Inc. THE PEIRCE ACADEMY, MIDDLEBORO, MASSACHUSETTS Tue early years of the nineteenth century saw a remarkable development of “‘Academies”’ throughout the country. Greek Revival forms mark many of them; such, for instance, as the example shown in No. 570. But even at that time it was principally the existence of a cupola which distinguished the Greek porticoed schools from the Greek porticoed houses. ° Hie Py eth ‘ oe ve, Pe a . ee Perm OP * - ~~ = + ‘ = A» ee ue a pil bbsch Poth Vigne ene Waa) _ about 1840, by F. O. Freeman after a drawing by A. C. WarrenOl EDUCATIONAL BUILDINGS 239 A NEW YORK FREE SCHOOL OF 1808 Ir was the growth of cities and the necessity for developing schools of many rooms in _ congested neighborhoods that first produced the elements of a school type. The New York Free School (No. 571), built in 1808, shows this. Using the delicate “‘colonial” detail of the period, it neverthe- less is neither ordinary house nor ordinary public building. It is beginning in its design — window grouping and so on — to express its school function. eae ae se Baws 572 Public School 37. From a print in Historical Society col. ee) tye ee Lge § ; . U2, S2¥ fear S * 4 a ; ; . Wh aa al i «sae eran m a ' j hie Na - , ie ry : Y . pee | Pane - > o : , Ae - rigs cae we Pers: ; i vere him Se : me” o 7 } — ee fa" ee ee Ne - eas ee ue Ve Ae : _ 573 Public School 19. From a photogr aph by courtesy of the Board of Education, tnd pit i BALE LI &, eI Peed aes ae Ue a o ms Cee SOUP Ler and PRT TPIT phy Ede rnd *4 Pi er} Lee hg yy f Mi, fest pipes: Spree | he is Be aa) i ate j ae) rte ee) : ARREST ae Tit op LM ter S ae = = poate rm a el | 571 From an old print in the New York Historical Society NEW YORK PUBLIC SCHOOLS FIFTY YEARS LATER New York Public Schools 37 and 19 show that by the middle of the century (the latter dates from 1859), a definite school type had been evolved. Several stories of windows are paired or otherwise grouped, and, for the time, substantial masonry construction distinguishes them. The details are of the pseudo- Italian type illustrated in Nos. 353 and 378. But there was little understanding of the true science of school planning; the requirements of lighting, ventilation, and sanitation are hardly appreciated at all. New York sy _ » Paria So ELLER ES FY ee LA kins ha hAanuaya Cet et] rr ~ ra FERRE USE SE CERES Ulca nino awa Wasa ss rr == ve Raa PoEe Pn od = PRE a Gs Ho PUNT Ry 5) eee Gt tot a raed Pid a ¥ = et po CS are ee tT De Pe es CLIT, eee 5 “2 ris : a of ot “at rs ee “J rm erie 5 * | bs ts a) - ~ = i Ey i FS ees . st 3 Poe ee Key Pe a hel te Vee eee et oes Pek eed COD oe oa ee eS 1 wr at pd Fe, er ep) ale a Z = . . ” See SAU PREYS oe PES ey Pe) od rol ny dd 5.) Pr i. he oI eae 2 $a Pe eet a heed a are [cls ae pte 2a a = ee Wet a Pye 2y2% aS ier RF 90 St 2 2 Pe epee ere ine a4 ed PI Cas neste y a yr CIRTSI Ey ead CAO Wat a ts ia oe <') a a =5 “oz ae iii : } Deter oe oeb te tet ty Ps - Pi ee ark eS sd 8 RF re WEF te ery eH ea dak Ry Ri AG oe dt ae, * - A y) ee ag Sy Se: deheahie, L " Apt ne a sale hat eared rotate we tae ii alti hn he) ce ae lt iia beled biel tele tel Ee ELLE ad) bed are kod ; = : - . inte IA 7 “a % F ne “a y - es ‘ee ea Se mug 4 . ae . 4 ps te b: - * a Fs ? mae . Denied et Lie ae deta el hy Pas Se ied t & $5 + 4, Se es ae | Jar a eee $ hi ie ®) ae a he ee Be 4 a) ae | oe Ye ) Fh oe a 1 j fi 54 Z Bie Fr ep ee Cl ~ a al Ss Perit bad ees nailed abate Noel lie a at ek Dh ce oa tel bane hone het =i a a ee ow a cS + BUSS TATA CR em mh re ee re ee ee ey ete ter aie po fi, oo s - ay _ - ee ees - . AF df a ry = ey ~*~ ewan, — 240 THE PAGEANT OF AMERICA r fi, eee at oie —_—— — . sf - oe rae Pe ‘ és ate 7 3 8 ’ Fok ed <>, n= _- o hh ten TE Sy aS yt a } .e 4 ‘ 7 4 y B et 4 oe i he . * ALT > ~ 7 ; =< a , ; * shat i. a Aah <% hi xo, - lm Pn - at Sa aor oh. A $d * bad ; . x ete ¥ Iii T. 4 oe) ry + eS Nhgy - ¥ ra) J et) A re he ere Ll - ‘ 4 titel sZ ~ AA 1 J a rd 7. . J F 4. i G 7 SPATE A f BHU Tbe ss ‘ ~ t : PEL Py ey «] * 4 he 2 i> : nh — + Prego = re, We aie : ~~ — * bina - 4 Pe Ot ’ * a te ee eee Rare mm Oe et ete = é iL. 3 > 574 From Minard Lafever, Architectural Instructor, New York, 1856 THE MORRIS HIGH SCHOOL, NEW YORK ScHoLastic Gothic as applied to large city schools was developed to its highest point by C. B. J. Snyder, architect for many years of the New York Board of Education. He revolutionized city school design. The Morris High School shows the type of Per- pendicular Gothic, much modernized and simplified, which he used. THE PACKER COLLEGIATE INSTITUTE. BROOKLYN Minarp LArever reproduced in 1856 his design for the Packer Collegiate Institute in Brooklyn (No. 574). It is one of the earliest examples of an English Gothic style applied to schools; and despite its Victorian Gothicism, it reveals some of the possibilities that were later to be developed into modern American scholastic and collegiate Gothic. grt ft _— ett | ta f -—— ; ’ Fels A WY) mee 7 yore re | es AN 1 ar | il}. fa iif ian | { a - bi = i a) ; ; ie fi : ) Ae a i TL ee Ser 0 ve Wekirty |’ tb t Trt Sc eet gt yar) hr ee oe Fk re ) rg ve | ny — ‘ o bh mm be | et 131} ; pions il ’ if } > - ney | 4 1 Bar eee lie | Gi OL CATA ft i mpm) AMT. AL, | A Titi, pore I ria “ae Py “hy A rs nie ae A DaiATO PE to 1H Tt ea an , th FY Le hE We iseeentae > Seas tel i LR ; . rN Mi re - a a & P) ¥ . a 5 C. B. J. Snyder, architect; photograph by courtesy of the Board of Education, New York The school function is perfectly expressed by the ranked mullion windows, the type of plan, and the essentially scholastic atmosphere of the detail. Mr. Snyder’s contribution to school design was as important in practical matters as classrooms on a restricted city lot, of ; fii , ifitti es Aehe eat ptee , ‘ . , ; iss j , } wt ae eet alee - on ae <2\ "= 2 ee - . x. q SAN 2 > ‘ ’ ) 3 . - LAs ¢ et ’ (pay « : “* wad , Se >> Aa, 2 \ in his handling of the style, notably in solving the problems of lighting arranging ample corridors and stairs and exits satisfactorily. A MODERN NEW YORK SCHOOL Tue extremely high build- ing costs after the year 1914 made the problem of the city school increas- ingly difficult. New York Public School 52 shows how every inch of super- fluous ornament has been eliminated, and the whole reduced to almost factory- like bareness. Only the entrance door, a string course or two, and the re ; a | rather questionable arched heads of the top windows H He remain of the earlier aVidbes cteeecbals lh Gothic type. ESS AE BRAT RMT A et slut uA 576 W. H. Gompert, architect; photograph by courtesy of the Board of Education, New YorkAe 4 : oars PERINAT ee Eee BIO fpr sdk P r i? . ’ 5 A , OUI Pi ee OSLO ee aL Ae De i (eet eR PY ee ee a , ' = Sew ft 452 C r Baya Cr ORD a oe Lord ete | EDUCATIONAL BUILDINGS 24) < = ate ant oe THE FACTORY TYPE TuE necessity for floods of - SoeEREKF => faite tote te vied, vies light, combined with the 7 om — Fk Ler Paddace Sah Dead sa artnet lethaln Netlaies Neh. ith oe einen ates aed ed Shen ton en ee hala enn heads bend ea at ae et oie ._ Cae os a LSE Xe a tA aa Aa Be a « i z ci . _ ae ‘ oo . . yr Y= t Ux Srreetk as Fr waemeee mass composition, and its delicate 4 aL oe W i 7 le ss one i, oe 7 a . ts Bee ’ rae . u . . . . . ed Signi te: Suen vr mn CQSsewaae classic detail, this is an admirable ee Ct eo example of modern eclecticism. 82 Ernest Sibley, architect; photograph by Mattie Edwards Hewitt th ot tet ie Ld ee ee eS ee eter aes 5 2 Ca he Soe a Sens aR, we oe dS EAS mS SOs Sete ay. pee 7 = ~ e Se as aEDUCATIONAL BUILDINGS 243 A HIGH SCHOOL IN THE GOTHIC MANNER But there is modern modified, free, eclectic Gothic in school design as well. The Southwestern High School in Detroit is a beautiful example of this. The simply massed brick walls, the simple arched door, the buttress forms that are quite modern in detail, and the light metal ventilating cupola in the roof, all have a flavor not only creative, but of true new, frank, charm as well. Moreover, the large windows are frankly expressive of the school function. Ng dee + Mee hy elec A wt be i ee thy) . THE CARL SCHURZ SCHOOL, CHICAGO THERE is a continually increasing num- ber of attempts to design schools in- dependent of all historical. styles. One of the most successful of these is the Carl Schurz School in Chicago. It is simple and straightforward, and in the rhythm of its repeated motifs there is a distinctly vital effect. But all the entrances seem painfully, con- stricted and uninviting. Except for that, it is an interesting example of the composition of simple wall, pier, window and roof. ” nea re Eek aia nes na so r f ss vas one eh te ay Me A ie wat ate a vl Cees se va 5 Ne, a fa ee LP F act Rost photograph by courtesy of n and Palmer, architects; The Architectural Record ita oA Paes 583 Malcolmson, Higginbothar A JACOBEAN TYPE IN Sk LOULS SomE of Mr.Ittner’s smaller St. Louis schools, ina modernized and eclec- tic Jacobean, are among the most individual and delightful in this country. This Bryan Mullanphy School is typical. The plan is a perfect school plan, well-lighted, eco- nomical; the whole has personality, charm, at- mosphere. Such beauty, in a public school, is a national asset. PO a m2 PLoS ih | ny f | a in. yi ay WAR ANAPUNA AA UR ap ae —fi =a TP ATTA TI ire 3 ' boning iz “wi a. ie ae - ’ Co) CERN Sia ROARS ee sie 585 Perkins, Fellows and Hamilton, architects ie ee) a u Tita Pee 94.4 vt ye eS. fet C ay ar ED re ny =. o fie mnt rein * OT we aati S TK ees Pee yey Re EP DE ES PrP eR eek bn otiitt eat milett Silt attra. te F< tas C Se Crees ar Cs arr pike eee er . YYar EN a) “ot im etter ee C iN ie w wae ey rs +f | ro rar 7 sf “a baat | ee o aot | Paro ma we be) a ‘ “ 4s. oe) x Fs ead Pe ge foe id 5 ee PL Pelt oe re ale + & ENS Rae ay eS ae pe PV et Pt rl el 5 ose yd ie te oe ae a eo ee ee Po ld ad PTT we nd 75 ET f a ¥- ae se Pee “0 ot ANS aS pie Gt TG SS % eg re Pe Peed et ee a ed er * 8 SOS SAT EI “iar " 2 ? x — fe ee rye " Ae eee o ape eeor eae (i i: 244 THE PAGEANT OF AMERICA Sted belek te ch Tt i tt tera Cite el te Chet bt be bene Ls pt, PRS Pe ie ES A SCHOOL IN DHE “sRULURIST” MANNER THE Baldwin High School, Birmingham, Mich., is in bE ed aes ee bideed bib ald ated ee Le the futurist or “‘secession”’ Daath, eat ee ma ( 4 ‘ te Se » * i have e+ eA SBS! — + vein. Again it is the en- trances that are at fault, at oe) le tS with their border of un- heme 2 ota Wy oy ‘- ~—— meaning and inappropriate classic detail. The vertical eget enteiedlimatitaieans windows with their slim columns, the buttress strips bd a y bee ned bl oJ te a rep career berm 4 i CJ Apia ale te A = . Pa fs e m7 7 = ene “ ee and the plain brick surfaces ee are exceedingly interesting. 586 ak iat hdete Te hee bbe es 5 ke rs =k ay Pd Sete ek oe gt! ee Pap Imes ps = ale le ieee Rb bel Le ati el hg Ped eat at ete Pe eet et eel Cee beetle? ; pete hye Eg tte ge Ch AN de Ge PS eG oA Z Ss ges a 5 . £ © ™ . oo £ an) Cy —— = A ONE-TEACHER RURAL SCHOOL Tue purely rural school has unfortunately received but little architectural attention. Four walls, a gabled roof, a few stock windows, a flag pole, two obvious and objectionable outdoor privies, apparently sufficed for over a century. The state of Delaware has made a great step in advance in having a series of well-planned and beautiful types of one- and two-teacher schools designed for rural districts. The photograph shows the charm of these simple modified ~ *“eolonial’”’ buildings. CONTOURS AND CLOISTERS OF SPANISH MISSION STYLE THE greatest single advance in oe Te ie fe f i i ie Z Per ea . } x ie a i £ re 1 t i ‘ V4. iP f i a a i go schoolhouse design has come from California, with the introduction of the one-story school, the building but one classroom deep, arranged around a patio. The High School at Na- tional City was the first school of this type done in the Spanish Mission al later ht a then See ata Nine ed deh Pe at a ete te a, ° Nk eG hb style, whose warm stucco walls, rounded contours, and wide arched cloisters admirably fit the climate and the locality. eT Pa paint einen ated eet hte alee tg bt ht Ee ed —* a +e A Ah feel Sm, gull a ee en * rn r a . eal seh) S . . - 5Vat Fe tA Ley a - Ee Leet Peel Oe Se Shahan a eae sue re 452 EDUCATIONAL BUILDINGS 245 yy fie thier bt ror ts = = MS CAS mee aD tr “ Ni pe Peto te ron ye hepa yah Be Pitta edt Dalit ec) wife et eRe gm oo Tee “> nen es imine "Rye en ee a be Sie is wen a - 3 = ete e Ny Ooh sabes et ie ae tf ae, ~ : - ~ Parc or ER 4 Pasa ci : 4 Penn DA be teanonid A Hnnicebe! Rd ti he a moe p= | a Shr RET kort Seren irae, bet i : _ 3 We ie ng fae De y ae - " y Ht > re) ye eee rt Lee eat aE ~ a Meret pak TS 7 chi P- . Ye stare - ft he 5 on *J Mey “ ae ? a th PAY ey, * oP Per OAS * fee a eee hod tT ae CS Lae mi 589 Allison and Allison, architects; photograph by Frederick W. Martin ere ree uJ Poe RUT ee me Oe Tt) GEORGIAN INFLUENCE IN A CALIFORNIAN SCHOOL Tue Grammar School at Glendora has a somewhat similar plan, carried out in a stvle pleasantly fresh and re ee arr ry ind eclectic, with its delicate Georgian note in the welcoming entrance loggia, its simple stucco arched cloister, oT Le and the unusually successful combination of white detail and brick wall with its occasional charming patterns. Such an environment is a continual inspiration to all who come within its bounds. rn i + 7 ee Pe ed THE ANTITHESIS OF THE FACTORY- LIKE SCHOOL Tur Grammar School at Chino, Cal., is a one-story school with Italian detail. Its low central cupola, wy awyia nie * m4 ete aoe oho poe 3 the contrast of its simple rectangular windows and the rich entrance, and the inviting garden layout with its dead Bod benches and urns combine to produce an effect of og Thal’, rr es ‘livability,’ which is just the reverse of the mechani- a) peo TO ’ 5 PP og pn Poel) cal harshness of the factory-type school (No. 577). a a A 30 Fu Se =~ t Sesitte 72 Sa 42 ed 5 U4 OHeMLP oT AS Cw Sele pera ee. y ae nf - | Pt NE NEE pe aan 590 Withey and Davis, architects : * I ve AN EARLY BOARDING SCHOOL Tur earlier boarding schools were most frequently merely large houses altered a little if at all. During the Greek Revival period, however, buildings were built specifically for the purpose. Such is the Georgia Female College, with its Doric columns and piers, its wreathed frieze, its attic and typical square cupola — all expressive of the simple, refined, rather PE a Pas Se" bedded ok gt el ‘Se ee ES Se Ve) te ” ~RE CAS oe eee Cee Le oe SSH Sa SAG OOD pM Ee De From Graham's Magazine, 1844 austere culture of the day. 591 | SP eye Sie er ALS ae Tigteg ie, Ue eeS lel Ue rete Bei nile aes — \Weya sone: Debden ete ee Hy F a Fs 3 i Like ei Ty bi he &. * 4 | PI Ce £. zie s. = =m eee - a rine cece ate ela em a A — So ee” CR ata As 8 SR de Reed el ee a td s ns “ie Woh & - Nid Ket itt Rt bel te ttt be oe | weet teres 4 oe aot Oe CU SOO SP aa A - a 246 THE PAGEANT OF AMERICA | j ~ ye : | Sr ; £ A eer . iY . > J x y a A | : Banter as Y be . oF BES 2 f en 4 Sa > 5 ' Vl tr; we Sono eas F a ae . ‘ : eas X BR Be ! , . ee K T ae 592 Murphy and Dana, architects; photograph by Mattie Edwards Hewitt | Taps" | THE LOOMIS INSTITUTE, Shoe Ts \ y a, Y T \ TT /, . WINDSOR, CONNECTICUT f-. | MopeErn boarding schools have been usually in some form of Georgian colonial or Gothic. The Founders’ Building — the classroom center —of the Loomis Institute at Windsor, Conn., is in a rather formal type of English Georgian, with various colonial motifs to give it an American flavor. r =| 9 OP ie ee : r 2 el Syrurphy and Dana, architects: DHOtGETEDH by Mattie Edwards Hewitt CHARM FROM A DARING USE OF SCALE OnE of the most original of Gothic boarding schools is Carson College near Gages The scale has been kept daringly small, order to seem intimate and livable to va little girls who live and study there. End- less liberties have been taken with the style; carvings are full of naturalistic field flowers and Mother Goose figures, and figures of children, and the whole is glowing with color. Altogether Carson College, with its grouping of tiny playhouse cottages, its vivid detail, its playful color, is a unique thing — carefully studied, human, charming.wae ‘ ed at PK as 4] a Re eee er EDP Piette hbo a whe = ot EDUCATIONAL BUILDINGS 247 mo PACS Pn Copy starr is PICTURESQUENESS OF PILED GOTHIC Tue Misses Masters’ School at Dobbs Ferry, oe beer ASM AD ose eS a7 ee ae N. Y., is one of several CChE recently built Gothic Spe CNS ir ua oe ita ca eh Celis boarding schools. In these a piled, random pic- id turesqueness, combined S cf Pr a 5 Ca po AT TROPA ath Re a with the charm of varied materials carefully used, and simple, domestic de- tails, are frequently the means used to produce = * Lt eed eee pth eth ey eee Rag ew et Ae 73 BARRERA RENEE the desired effect. Long sloping roof lines, broad wall surfaces of rough stone, grouped windows, - 595 Cram and ‘Ferguson, arc niceetan SNatoeeach "= Paul J. Weber ee ee a square tower, and a little cupola give to this example a character so expressive of its combined school and residence function. HARVARD COLLEGE IN 1726 CouuLeGIATE building in America - ~ ed ot ture eee ee Cn ee Ds Ey & os « early attained prominence. A view of Harvard in 1726 shows b) & a ; bY ‘ cy +4 Ls “4 ~ even at that early date three ma Dee TCT 4 oe FSW Wg ro een en Win ty meters: ew = of whichone, Massachusetts Hall, at the right, still stands. It is interesting to note that the left hand building, the oldest, has Pate) AL oe large and monumental buildings, fe Se abd se : 4 Aad Mg hd cee a ed PES NP Dye ee Te ek or te) eB Borenrh the many gables, grouped win- . Ee! dows, grouped chimneys, and i fed Jacobean doorways that are 5 . - J ~ . . . + aS ep ih. typical of Gothic tradition in ee a ne x . . ° ° . ps HIS =e America, of which this building Rp) cas +c wale, mh Aeertice 4 i = MSs Ea vr" eo - 596 From a re-issue, 1739, of the Dri cograving, 17 1726. i as Kine’ 3 C reation® and most monumental examples. — : ———————— ==] COLUMBIA COLLEGE IN 1790 A vrew of Columbia College 1790 shows the pre-revolutionary was certainly one of the largest Fey - ay S52 Re! rs so 8c i Fed aae se be a a et ed ee 7 ~ ” Pree Sat gol ery Ta ‘# SO a? eee er a! — King’s College building, with its four pedimented pavilions, its balustraded roof, and the large cupola to give it an official public stamp. The whole has dignity, scale, and the somewhat heavy, well-proportioned, and monotonous solidity that are the hall-marks of much eighteenth- century English work. oz LST ITT OEE Pa £m ey tae mye eit s oe Te PR a . Ca a fe Pe Poa el) et ee fe Le om, r3 ee Pert ate sy I PO dea D te hereHe% * S ed cq * bers 7 hs, 248 THE PAGEANT OF AMERICA bee i e Sen pee iL? DARTMOUTH se COLLEGE IN 1832 at , In the Dartmouth College buildings the type of early Pihed Wink ier bet ek bebe th ot] - = - oF ee tt bel ah pers ab, wang American collegiate archi- piconet aw eor ee Pe PS ore i ea ie Nese, Be Sb, sue| tecture is already well set. <, peat as “- owe aye a oy $ a x ue is iy * Hil a s ‘ 2 * i ’ ’ ; ; ‘> oes cs K at “J , . 7 . y r . » . pO gar ere Re He Resws . . eneenrteeny Te A simplicity, often forced , pe , het ae % ek pe MI Se eee eee te DT Cee in! rab heed Died Shela n iTS 7a F es ae RL et aves! by poverty, does not pre- : ee oll Re ene ft we on e Ne i 5B eee ~ | vent long lines and excellent Bee BE: ns io h oe 3 5; af oe x eed 3K | proportions. In the Dart- oa ear SS = a s ney bec ee a x | ne mouth buildings the delicate ; detail of the late “colonial” cupola gives grace and dis- TAO: | ag tinction to a whole, other- isa earth Oe NATE SaaS eatin wise rather bleak and 598 From an engraving, eeu Fenner, Sears & ae Pranaon 1832, after a drawing by H. Brown undecorated. GILMAN HALL, JOHNS HOPKINS | eid ce eee ump e Tae - UNIVERSITY 8 Tue late colonial tradition er Stank Te er reese Sh Aeedele d cd tebe Bede 3 soso Whee it doe Vines lene Sd el ihe ek ere Pee TY Ce > a Pee on =e Che ps Be Oa Pat Cont ial at a Per) A , a x Peers >" od = * . i. - . it - —s 7 5 =e rs rs rt + has had an increasing vogue _ | & | in college as in school design. : is | Nae ed Pia ne ad SSCA ch ORR. Pee When Johns Hopkins Uni- versity moved to Home- a mo “0 win wood, that famous house near Baltimore (No. 242) set a type that had to be followed. Gilman Hall, the main building of this charm- cnremncerin i sah oi 3 a ie ie ee Wi: s race ae a a 4 ey ' ! oe ing group, has red brick and 599 Spare eS and Rice, architects white trim and variegated slate roof beautifully and simply combined. A high tower of colonial character gives the necessary dominance. SP ye oe ae Sg os ae ae Ratti \ mae e a ‘ vn ot bh beni ale att Toate ict Nate Nal Nite ine ae et) be et a eee A tN q . ooh eter a. 5 aaa 5 Sh nation rn Scae Areas - 8 a) re [Gee ee 3 ae 5) PS ne te ee Sad Dele a itaa Cabin hehehehe phi hh oe en er Ct eo re Tar . - Py . - ~ “= _ . $m PAS ais J Seergul — - _ = ie Wie ae py ths ear bbe 1 A a wi PTA Tay is ah an TER ager Tacos SPs Naw, Pa epee : ‘ eS cane } Cs Re : ; Pat cay ah is pattie: at Feeiat ~ - ~ 7 Seen | ~~ ‘ © “i Sy C ‘A a eT eels ey ers TM STAC ET EY sak Sab nay Saat eR pris tbs oe NY Tae 600 saree aad Risarney, architects DOREMUS MEMORIAL GYMNASIUM, WASHINGTON AND LEE UNIVERSITY Here is evidenced a formal, classic revival quality which is evidently inspired by Jefferson’s University of Virginia, though less formality is here given by the use of a brick frieze to give variety to the large-scaled and impressive Doric order. The enormous size of this gymnasium building, erected in 1915, at Lexington, Va., well expresses the importance that physical education and athletics have assumed even in a small college. ao Tle ae .EDUCATIONAL BUILDINGS 24.9 LA | MCORP SP OPC CHP Se Se ieee TEE eer Peta 230 REPEC rcr ir thir obit Gr latrines alte! jain fj ar] } { | | } ae . 7 P * a Cove te trae Yer owed aber é mer’, Tad eS eee re eve ee fies whi Se Nand lip Wt F Le Cyr eages eo. =. oe ‘ Ce 7 mee 7 tart + ath, 8 Addl be oa yma aoe ae Oe i “7 Vetas cn ot Tiare erie ya nyt eee ney a = Soe ee 4-3 PS Le. ef i *, £5} big vA ee , 4 — = . * ~ hast =o Ta ches Cee Pee. EE a ener wg Pel nhs, Cs eis SATE: AT, BCS ET por rr er re ees eee - 601 Shepley, Rutan and Coolidge, architects; photograph by R. H. Pearman Sh a 0] FRESHMAN DORMITORIES, HARVARD UNIVERSITY AmonG the finest examples of American Georgian college architecture, these dormitories undoubtedly take a very high, if not the highest, place. This pre-eminence is largely founded upon the admirable restraint of their design. Conforming to the simple dignity of the old Harvard buildings (No. 596), the dormitories de- pend upon what must always be the mainstay of good architecture — careful proportion and unity — for their effect, and upon the Georgian ornament so sparingly used with perfect consistency throughout. peer ‘ 4 eer en ee : ia} ~ > ao Oe a So) PSeet Se et Se ey EY PUT Ne TOP cr i tetas) i oe ek Sat apt a Ore CP . Or 2 2 8 a Ee ul eae wg a) ed Er rt EEL er Te EO era F I Fs Peery o he - mm ‘ H has " coe Be | te } Q . : |---| Bay oe J ’ Bal Ee | #2 "|e Di . | r i AB Bae aaa ae ; j re es 5 \ = ' * rb} J as wee oe - - tg 4 : 7 satis i ama eas ote ee «) i Ss “ | ey 4 ow ; a a a * o a f DRED ET Et dh oe iH Mtieeue cd ‘ey Who tae Ct <} eet EE ss ig ue f <3 a te ee <4 ya Se 2 pot owen’ ‘ A ~ [ ~ Verran er " PP aT " » Lately inf cer eee ae hoa a . - . . . re Ar | , ho Pe iy F 7 aa) ‘* c , ( Fay tL i ri ; ’ e. fh Se ce | ees . ’ : ‘ Sg f F ine LTT oe ae +e “ ah | ‘eer. t tity CUE ye + ee — ed bes i | * s 4 Y eRe rae t, = |RSS > a) ie Be oo ee SF : 1é ez po Le t _ . } . ~ s+ * ii aE E ZL. a | baa | eh! Gr 4. an biZ “ ‘ um av. “ae Sree ee rf , r in. ee eT " es tees i ; 4 FE natin anda te 2 rae 3 ‘ a or a. 1 %: ty | im z 1 °C 4. — yoy my me 4 diy Be eer Bs MeL a 602 Cope and Stewardson, architects RIDGLEY LIBRARY, WASHINGTON UNIVERSITY, ST. LOUIS Wasurineron University, St. Louis, is an adaptation of an English type which arose when a sophisticated 4 Gothic was merging into a naive classic, characterized by the charm that all transitional styles possess. ‘The od “ped J ~ aS oe Pu) >. SnoD “ibe th py ee a PL Pe ay eae eS td See ES) Ridgley Library, with its inviting classic arcade, the naive charm of its Jacobean entrance motif, the large Co mullioned windows, and the battlemented roof parapet, has a direct simplicity of form and a human charm of fe detail that give it genuine beauty. 2 ae ae Soe . 5 A GOTHIC CITY SEMINARY Tue more usual type of American Gothic is less subtle, more obviously Gothic, more picturesque. Even on a. % 2 2 s My . y= Sc Sc ee) Jb Pao eA et hdd el el uJ - Boas * S65 . ee Se ad city sites, as here, in the Pe ee We Union Theological Seminary | oe aes é i in New York, many gables, much breaking of the sur- face by vertical lines, many ee err 2 - - . chimneys and pinnacles, are rs a) used to break up the natural rectangularity such a site demands. The chapel, with its tower like those of some of the Oxford colleges, is the climax of the group; tries , 5 Terer ~; wy Rae yt se fats ey IS TS £77 3c "he B re om Seow) Me a oe Pe Pe ee ee ee a ae the most successful part be- cause its forms fit more naturally into Gothic dress. —g93 Allen and Collens, architects 7 er we Se Le - Ser hr oe A a teucai SE Tibet Urb hereto e ttn tant rob PAL 3} - Ot a ee a ee ee tie ted lel Gee ee. etal a i 7 bea beat hart a eerie at air eat al he rel bia ete ele nt Tel Calecret Petre a or A a i ah Pie in ar th al nha Sek red oat oR Leen NT 2 oo Pe eS atin pth F x A At 5 +t - @ po or F a Ps a 4H a eat , Bie 4 . ee ae ag a = . Se Pat aah ial tit te att, = 4a - + eek eet at eT Fee . Nat 4 raw asad pth ot tg bod dh hedes tomer ctahabater Ril Sahel Nene Be eT ad pT PRs te a Ah PS AGS SAAD . _ os Rea et pe ee et 4 Soy me . aa ay ere Se } a S ee . < - = ad Py bs ° “~*~ = sk a ~ 250 THE PAGEANT OF AMERICA : = A as ty het oe ae ha eae B } Mart “is I~ ae ee) i Me bo , as . : . as ni > Pia Pe ae >A ae BANS SS) “ “¥ Oi \ ie ‘ a* FY iy lat ty ee Se ~ ~~ COLLEGIATE GOTHIC IN OREGON TueE boys’ dormitory of Reed College, Portland, shows how widely examples of collegiate Gothic are scattered It is a brick-gabled building, stone-trimmed, with the over the country — East, West, North, South. Chimneys play, as they should, an several entrances a dormitory requires, and a pleasing informality. important part in the picturesque composition. THE UNIQUE USE OF GOTHIC AT PRINCETON Tue Princeton Graduate School, with its great memorial tower to Grover Cleveland, is unique i = among American collegiate Gothic buildings be- F cause of its size, the consistency of its finish, and ah the big simple strength of its conception. The tower, its main exterior feature, is characterized by the skill of the transition from the simple square ‘ = ‘ >2-8 ee ee at -~ ~~ Se \ io — . > .. oe = meg yaad a ee i Se ~ ee oe Lg » ts - SS SE 1a: strength of its base to the lace-like deep shadowed Si 1 Bit if . . . . . a ' . . ‘ | intricacy of its top. It is a fresh version of the fk ee ty fe it a ips usual Oxford type. | : a stew) Bt 9 | Bo MM, ry ~ fs Mat Ys Ee rcs met r airy 5 a8; fi tng bee™ NE x — LF 3 i) Ly aes a * > yoerw ee " he Satyr a he ie ARSE Uo aS caret Pathe . 605 Cram and Ferguson, architects; photograph by Paul J. WebeEDUCATIONAL BUILDINGS 251 INTERIOR OF PROCTOR HALL, PRINCETON UNIVERSITY Next to the tower, the most noteworthy feature of the Princeton Graduate School is its Great Hall (No. 606), where the graduate students dine daily in academic dress. The whole hall is in accord with this antique rite; its magnificent trusses, the shadowy open roof, the soft broken color of stained glass windows, and the delicate carving of the oak screen at the end. Sie rao \ Ait a8 ae Tbr eR e aor V al 607 Day and Klauder, architects: photograph by John Wallace Gillies THE GREAT QUAD Ture Great Quad in Hol- der Hall, Princeton, is unusually successful because it is so straight- forward. Just the neces- sary windows and doors a dormitory demands, arched gateways, chim- neys; no forcing of strange forms for eftect; no tor- turing of many materials into one to give texture; in short, good architec- ture. Sig Belarc wet r anit a {ars oe ry aw -8 bt 606 Cram and Ferguson, architects; photograph by Paul J. Weber HOLDER AND THE HALLS, PRINCETON BesipEs the Graduate School Princeton can boast of another collegiate group — Holder and the Halls (No. 607) — which is in many ways the finest ex- ample of its style in the country. This view across the “little court’”’ with the kitchen at one side, and one of the halls and the tower behind, shows how, without unduly complicated form, using a Gothic type ot detail fresh and new and American, there has been achieved a remarkable sense of picturesqueness, dignity, and simple charm. - Uh Rede oe Minced yee ne oy yrs aw . Oey ay oe -” Day and Klauder, architects - 7% iu Pe OR Ea 7 | aa ii SL RPK py kaa) Elona 47 oe a toe Soa PEL tres Si ma ipedtoateariae -—~ a n ‘ vw? etal? & ar Pett Pe aa Ll ct il a ea ae ree er ro wes ay Rye eee ee Pe me ta ah FS a in ‘ as we on A Pee ea C pra} Katee see belt eet tee hk ee Tt eee tt Tree = - A Pi Die Shir er eg Det et ey i Omg het aot bat rie ahaa Ari tl bahia rhe ree Te ol ol ble Sao Te toreleotee Tet ie feeling. McKim, Mead and White, architects; photograph by Wurts Brothers THE COLUMBIA UNIVERSITY LIBRARY By all odds the most imaginative, the most monumental example (No. 616) of all American academic classi- cism is still the nobly domed, many columned front that crowns the flights of broad and sweeping steps of the Columbia) Inbrary. Into its planningswas) put = something of the grand scale of Rome, something | of the delicacy of Greece, and yet the combination of those qualities, its directness, its force, are Ameri- can creations expressive of American culture. PT bn Shek hen et ie, ca a a _ or - © Rl Natta eS eel — dae tae, re Od =e oy ~ eet or . PY Sng a - - 4 Self oaaict pegh ced hes Td he bay eat eay a4 , eee ae eet lhe hearted ieee tee wre ree sr aT TS er 5 = 4 . ua" ; ~ ~ * Tyrey ———— a ap PY ay Yo [Tete] ve" wear) et ~ - : y t So bet oe ie 4 oh ‘ sat —— et pom 1 a o - , : 1 , Bd 7 o® ? L vie ie + My ; i ae - Py Box: ie ) ae hepa 5, ° i i i i + Ff Ae ge! oe oe ae a ay Fe hs eS Rae hae r 3 ya fe SH aC sites} ai cede ke Se selene ey a Reet b | ———————————————ESSSSe —————————— ee} nab anneal cuseathaneias =-sunenttanespainenenaeenenatiiok : ae pant ananapEaaaD 4 eee Ree a ie a ce Sa Le a ae rn = L . ———— . i to a — ———$_____—— 616 McKim, Mead and White, architects; photograph by Wurts Brothers Aad A ee eee, INTERIOR OF THE COLUMBIA UNIVERSITY LIBRARY THE main reading room of the Columbia University Library has, in addition to scale and delicacy, another elory all too rare in America, the glory of color. Columns of deep green, gilt capitals, white marble, the deep night blue of the dome, rich dull red and green wall panels, and the russet of old leather doors and screens make a whole that for quiet, subdued and dignified richness is scarce in modern work. helen titi dt tenella athe ended he ton hace at! Atel od) on ane ocean thee ed led ae te ee — aD tA, Se Nahe oy RO ks a at a TA af St hy Cy a = _T . 617 McKim, Mead and White, architects; photograph by A. Tennyson Beals Am The, a =~ . 5 ache Pe Tawar oe ey 8 ee ee ee eel eet oo waht ha ade es » “ 4 aie ow - = PTS N TY ‘s Ae rt a iy et - P; Fl A CeCe Ep LAI Sy i ie te eT Ee lad! ee Le eae Che PP dD Us ae LA ed thik TT CEU OT Yo PO Oe LN arene eC dec Beige Oa ican re UY DLA EI iP SoU dfs SCY Se a Je FDA De Deals J AWA Pee oA A PPO a J Ao De J ah te AUC PAYA BA Pact ba] Jae, i eee LL Bl) Bee cake kd a Bet ae tet TATE L eer let eM Te ae | e4ihts n i “EERE P ET PP eoxtEee Mea erie tett Crt ork Sh hoy iat Tk Rolo eS SPL UB ENS SERPS PPP D turer thet Skirts Ss Le 2% y pony CHAPTER XIX FACTORIES AND INDUSTRIAL BUILDINGS caer in ea ok ee TF ita) Eth 5 CERT YR Beer tm ae octal Grit HERE is no better example of the sentimentalism that sometimes clouds American thought than the attitude towards efficiency and the factory. We are willing to spend thousands of dollars on purely unnecessary and “inefhcient”’ ornament in the public halls and exteriors of office buildings, but factories may go without — “Oh, it’s just a factory; it must be efficient.”” There was a time, when the country was younger and financial competition less strong, when this was not so true: Mulbert’s view of the Philadelphia waterworks (No. 620) shows a building of considerable dignity and charm. ‘To the early builders of those quiet days, what gave pleasure, what pleased u/ Se ae hoe Me Ter Ge ha ree ye Puy yw etre th tea the eye, was not wasted. S Te Ts PKS TY a a Thats Lee yo ard US eee Pe ets But the seeds of architectural dissolution were present even then: Miulbert’s comment on the somberness of the factories in the Boston suburbs has already been mentioned. The mushroom growth of industry after the Civil War put an end to any attempt at beauty 3 in factories; like cancers the eastern industrial towns spread their ugliness and slums and poverty and squalor, eating out the heart of the lovely countrysides. A factory — then — was merely so many square feet of enclosed ground, built as cheaply as possible; so many running feet of windows, so many spindles or looms or forges. Later, as industries expanded, it was crowding, hit-or-miss additions; it was growing refuse heaps, ash dumps, nk oe) ec J ho) % % ss er a4 ee} a a He | Le Cat. § a oS ma 4 ad a smoke: it was mill added to mill; gaunt windowed boxes, gaunt furnaces thrust into the go} air, tall chimneys. Beauty sometimes arose, but it was an accidental beauty, unsought; PRS sept aes ae ‘ a”, 7 ov the beauty of smoke trailing across a flaring sunset, of piled forms seen through grime nS . Gy ~ ~* _ Faq ogee soe ee Sd eo FO Pe Ne eres Pot et Pe or fog, of flaring lights from night-fired furnaces, of smoking slag heaps. It was a beauty purely fantastic, often sinister, nightmarish; a beauty to paint or etch, but an unspeak- able ugliness and filth to live in. It was not architecture. From the worst of this, new ideas of efficiency — but it is efficiency that still rules — new ideas of social organization — but still with the largest possible financial return — om a * ie 4-3 he al ee “ale 2a 4 + ec i ae ie re oF lei ; eieie ot TTP ae ga) oth To mY" kv. have rescued us, or are slowly working to rescue us. Even the purely rectangular concrete factories of to-day, boxes that they are, are an improvement over the brick barns of Civil War davs. New demands for light and air have forced the development of the metal window; that has helped give some definite expression to the whole. Power houses are - ? . °c ai P . ~ e ce aye cae s = y -a susceptible of architectural treatment, dignified and sometimes. strikingly beautiful, — 9 OS eet - SrA OO ao TAra* o> 1 ‘ oO Tr +)" 7 b , > VC rer’s nip > é iS water tanks suggest towers; erounds are better kept. If the worker’s environment 1 pat * still usually angular, harsh, full of bad proportion, lacking in graciousness or any touch ot personality, it is also usually fairly clean. Certain definite attempts have heen made, too, towards an actual architectural solution of the factory problem. A modernized Gothic of rather hard and perhaps pur- ad ae posely expressionistic angularity has been applied to factory design; some modern fac- et Pe eS Bt he ee ely ee 8 SET a vig oe Pe le ee a el el : Rd BY 955 Yee a a0 fee bad Be ee] Peso Paui 256 THE PAGEANT OF AMERICA tories begin to look like true buildings — not mere excrescences A beginning has been made. Yet, on the whole, the factory problem remains architecturally unsolved. yet to come a genius big enough to seize the epic quality of it, to feel the poetry alike of far-flung effort and of each worker’s struggle, to take the harsh forms of eficiency and play with them, piling them up, making of them a whole that will inspire, not depress; that will continuously satisfy the unconscious need for a to come, too, an mdustrialist with the vision to Nid or bra wL Trt rere ee che eT id et eh) ae (Nos. 626 and 630). There is bea ahet te aed aod bles a ehed Li biel tLe el et Leh ie) L. - = ™ L e 3 Ee x Sle op P - that will rest, not exhaust; | | surrounding beauty. And there needs t] realize the value of such an accomplishment, one willing not only to accept, but to pay money for the adding of new beauty to the workaday world. The warehouse problem is simpler, easier of solution. Wall surfaces have of them- selves a certain quiet beauty of restfulness; matters of style do not intrude to distract; warehouse design becomes a mere matter of proportion and the quiet treatment of ma- The spacing of openings is the important thing in the composition. terial. The old tradition of brick But modern materials have again created new problems. warehouse design (No. 622) is overthrown. Reinforced concrete has taken its place. Perhaps because of its simplicity, reinforced concrete has proved a difficult material for It has been tortured into forms for which it was never American architects to master. Its color is unprepossessing, intended. It has been left as plain, ugly, gray smoothness. And yet it has unlimited possibilities; some of them are being DO hee an Sen ew tee rt — bs ae y Hed eb gd ohooh where hie tl plete Cael ake he ee) ore A pike i RR NP eR th te a ihe Di Bs Oe a Oe SL fe tg a ti eet Oa em te ae gle ~ mae a i x ° = ‘s o - - B - e . ry al Yale, * = - = . eee “ s« ee By, ga se ae AG. its texture often stupid. oradually realized. Among all the many reinforced concrete buildings in America, Cass Gilbert’s warehouses for the Army Supply Base in Brooklyn (Nos. 618 and 632) stand out as remarkable. In them there is perfect expression of function, great imaginative beauty in composition, and a true realization of the quality of the material. They suggest what may yet be done with industrial buildings, the very foundation of our Ceca ham babble ean okt tel hea eaten eae teed nat nes dig ln oN Si aie) aie HP ing at Ae ore’ HS 8 E Sek, eivilization. a Fadel eta en a et Natal Sat Le ea Teen to het ae eed te) * ae A A Peet nA P4 “SecA rse die eile, bs A) —s - Nt he ia ed Sere ee elt ee eee ee a Se ey - 2: h OG AB a OC Ae ne Rho + aah ender Daler he ah le Dalen ln Nome dS ha et et) — a fakes eos ae Die coe aes See ‘ Se oes es Gi et Sea Umrah Roch a mime ar a Ly > ie . . a. Se ee S 4 S207 618 Detail in Court between Warehouses of U.S. Army Supply Base, Brooklyn, N. Y.; Cass Gilbert, architect aia o aes “EER EP EE SECS She » Dott is ba atta, rye f >a ~~ ir FACTORIES AND INDUSTRIAL BUILDINGS 257 ILA PSE Cn ESS Er REUSE DEEP ESE EERE? Rete) She eet re Er tora ir tet brig a — A CRUDE, BUT PICTURESQUE, NEW YORK STATE MILL OF 1826 THE evident surprise of Milbert at the industrial er development of this country at the time of his visit in 1826 is not only shown by various comments in his text, but by several of his drawings. ‘This one (No. 619) shows an early water-power cotton mill on the Black River as a gaunt pile of wooden build- ings rough and crude, but distinguished by their picturesque mass. ete a “ EC) PET TT Tet ef oP ORR Tak Ea Et — ee a . J A * <_ 7 «ae pe > ~~ Fa" mS PEE DD eren, 619 From J. Milbert, Itinéraire Pittoresque du Fleuve Hudson, Paris, 1828-29 THE PHILADELPHIA WATERWORKS, 1826 Quite different in quality is the steam pumping < Ik tat hee Ty eye PUTER TPC KER. raul e waterworks on the Schuylkill River near Phila- delphia. Here Milbert’s drawing shows the high at! a gable walls of the typical house of the time, low end a. ws . a s rx i es ae + = - yt = 7S) PAYS wings, and an architectural treatment studied, dig- a oh nie ee ia aye 2 Prva eee Pee ee bt nified, simple and charming. Even the tall smoke 1 te Pa 2 Pha sey er A! os stacks are given their place in the composition. The unity and culture of Philadelphia life of the time shows even in its industrial buildings. : , Sark Re sc Vee Lee Baru NU Urea staat et Orme 620 B. H. Latrobe, architect; from J. Milbert, Itinératre Pittoresque du Fleuve Hudson, Paris, 1828-29 THE BOX-LIKE FACTORY OF THE RECONSTRUCTION ERA AN advertisement in 1868 of a factory at Waltham, Mass. (No. 621), shows that the elements of the modern factory are already beginning to appear. Gone are the picturesqueness and the urban charm of Milbert’s days — instead there are range upon range of many- windowed sheds with attempts at “architecture” in the style of the period only at important adminis- Dr - re ea eo BP x e s. 1 DS » c rs "3 Ve 4 zi oi ~ = 4 y ta 2 oe ~ J WS G tro kd ed tod _ Tr Ter ellital tes ; tiene Markl tceebitadh ri eeediee thy) ' th { Zaina ‘agirire Iie , em Pott MESS Ss So kr Se eo PA PN Pd en dd et tl ad “ CP rll eet binant v Ae AR UU ' a ~ ote ‘ sphaem a eel SARE ary s. AL ? ty j i ; Ts \ f ora ee . MERE? Rs Sat Py! didieah sided tolls PRCA trative points. Mi Ty v * 7 ‘ x . agstsaem at 4S tre vente UMC RERER Te ya aN PAT TEN \ nh a \ ‘d i Yr re , ; Je at re Ae Te ee : Riietekeras th Md ar +a . 5 \ ASke f > Wuje\ \ uta 2 eS h ‘a iar r a “are. everein LETS gi telyr 3 meee mal Pc ee es ek ee ee ge ee ec oe 621 From Frank Leslie's Weekly, 1868 APPEARANCE OF THE WAREHOUSE IDEA But meanwhile some of the secrets of industrial s ae a wr ebe e Pe | Ao SEF ak Tir te a ‘nineties — to express the warehouse idea in big, strong, rather bleak, and generally well-proportioned 7 eal ae forms. Aca ae ge ee tee or) ed; \ | Clee ae et be ik bat etna bed et thd Se i eh aha nt ete be bol, Vine ict lel ele ath et phat cat ola D eaten betta ee de) oh eel be lat Tit th tal ee Peery D re aie iret» OD Prt OOhrs st et tad ol - rhs tes a Cd po ph Ss Tene ile let et ee lett heal een eet ye ame aad tae eet hai Nie eek ae te ee ee Pr Fhe hehe Reo Joho Viet el ae f eo = + ~ S a - Ae ri - Pe pee =e - ~—) ro ~ C a Cw “- . ee fi - os « , ~ ~~ - S. . Sr ies’ & Ses a ae fe AeA Sage Sees ‘ pe ae te ee A Feiue a es = eh ape wt “ ot Atay ok > * eo « . ~ ~ 4S aS « A aah lect ot hte be hte th tt be Boe ale eh ta ee ti Le Ct ee eee ee et a. a ~ =e ee “ a si) ea Tra ae a at aes 5 ra 5 5 = : an TS a tie te BA Dy Cat fe fae ays . ne Sy Ae Ce = a oe + ee a ihr Eat S s = ~ < - Ar ta - i 258 THE PAGEANT OF AMERICA —— —— - a eee 1 a - t See hoe Mi £9 ae s ed ~. var ea oy Fa 4 Lv Aj a “ \< ene Sh , a > ay a hee > ML ,d Ef vl 7 3 4 o $ OS 2 J : ep A: ev ioe i: ate ae 636 Albro and Linde parse architects ro ie A WESTCHESTER COUNTY COUNTRY HOUSE THE picturesque tradition set for country houses in the last years of the nineteenth century and the early years of the twentieth persists still, though seeking expression in forms more closely related to those of past styles. English country houses of the Gothic and early Renaissance periods furnish an inspiration partic ularly congenial. ‘This house in Westchester County, N. Y., built for Dr. Gardner, is an excellent ex xample of this influence. Rough stone, stucco and half timber are well used, the forms soft and yet distinct. The curved es Ss SS vd i eX Le ae | b! &: | pe | i. ae a ie rh Ls . P ft £ ¢ a ae roof lines, covered with wood shingles, intended to give the softness of thatch, are open to serious criticism i: : ie as not frankly expressing the Se vesd eo Pea ee true character of the material. | e T ‘ x ’ ya, & if * r. | get AN ENGLISH a ae = op Sy te f ay es : oe > ‘eo f ) i.“ iat ADAPTATION “ans = Bf ‘ e: ate Be a f 1 ot THE house of Mrs. Lizbeth | eas ae 1 ~ s Y 5 1 i Ledyard at Stockbridge, Mass., are ie . z : sn Ok ‘ : ee is a simpler and a franker ex- |ftgeae nt io ° . fay Ww i pression of the same general | Re her ~ ; sicte s . | e1, English tradition. .Its white ae 7 br ; ; 5 a ALE Me painted brick walls, its casement ties 1g : f A iB windows, its simple.and direct % e: roof forms — no “shingle thatch” eres ee na henv ae ae brake | f teh Hie aig ¥ ‘g : + ay * s iat " TT ne ‘ 5 y here — and the wide bay window EE hi ns | 2 ie . . . 637 Harrie T. Lindeberg, architect; photograph by John Wallace Gillies ae give just the touch which the i site and the surrounding rolling landscape seem to demand. Good composition, an excellent treatment of pS | Sty the materials used, and an unusual feeling for setting make this house an almost perfect example of its type. = A MODERN HOUSE OF ADAPTED ENGLISH TYPE re Pratt house at Bronxville, PON ae 8 ’. (No. 638), 1s English, too; PEG ae oe A a ae of a slightly more artificial is and sophisticated type, as befits a fashionable and ~~ fo its loc: carefully developed suburb. Here again the materials are an 1m- ener portant part of the effect: rough at Se ee : i) stucco, and the pleasing contrast | between its textured white and the dark of stained half timber and stained clapboards and shingles contribute much to its. = - ie hh ee ek te Lr Pate mo! al eit Bethe Neat dt ee tee tt te el ectcls ted teel en Phe? tae e - es me ey rr + a | - Sty - eats ot . oF aed ~ ee - " > - - Py — - = ewes - . RN onde hee PR Moa RE oe beauty. 638 Bates and How, architects r* ~ 5 No be ie nt hel te het tt AAG Mise ONG SR Se Osea Ss Ae A - «= ™ Nie p a ee a &DOMESTIC ARCHITECTURE © D Or Oe ee 639 Peabody, Wilson and Brown, architects; photograph by Tebbs and Knell, Ine. THE CHARM OF BROAD SIMPLICITY THE Barnes house at Manhasset, Long Island, shows how the modern American architect takes the old English ideas of broad roof surface, large chimneys, and informal gabled composition, and carries them still further. The roof surfaces are curved into each other; there is continual variety in heights; chimneys are big and simple, and the brick gables and low wall surfaces surely composed. The whole in its direct and straightforward picturesqueness, in its entire avoidance of fakes or meretricious ornament, and in the way ee an. eee ee it seems to belong to its wooded site is a model large house. PHILADELPHIA STONEWORK ArounpD Philadelphia, where there is much easily worked ledge rock, it is the cottage of the Cotswold districts in England (where a similar stone is found) that has furnished the inspiration for much modern work. The McCracken house at Germantown, with its colorful stone walls, its large English chimneys, its attractively grouped windows, and its walled garden suggestive of retired loveliness, is typical of many of the beautiful houses that have been built in that 4" f eh ery ee et RR ee halt ‘. ma Pee ea eae ‘ 5 peg Se ig Ree ths on Pe ae 640 Miallaeen icles and ower aroultscts that is the secret of charm. NG neighborhood. Again it is straightforward simplicity i TF HALF-TIMBERING AND ENGLISH GRANDEUR IN AMERICA 3 ee bia: es Tur Lehman house at Tarry- [Rapaaeery ities Tie town, N. Y., is inspired by the striae half-timbered work of Cheshire, tngland. But again this is not a copy; it is a development. With decorated chimney stacks, varied brick walls, a stone- mullioned hall window, a colorful rough slate roof, and much carved ornament, it is obviously La pa ate are an expensive and lavish design; ASAD Sh caer dea in Ps os ata : as 641 John Russell Pope, architect; photograph by John Wallace Gillies yet even this lavishness is most carefully restrained, and the ornament so beautifully designed and so carefully placed that it always seems right, unostentatious, necessary. In its perfect blend of color, material, and composition, it is a true master- piece of re-creation. a Ge ri ee 5 oer bore He | Sew eas Ry Gs oven Ai PR Cee DS Pi eet te bad UY ar er ee . or wie * ered ee tad tao hh | “ FADE EP HCpEEU pO OEE Ne) MOP Cru ie tities tr tisha ra - ogt.e ~ 7 « S pas Tees rates é TTP Panes TO WU Nile legneaax a rt} AAS ee en eR ks = ox Le asf L ee oi hot iene aie awl PoP ete Ul ee ee “es “tA 2 I es a 8 re) 7 ho Pe be ee os yt) oe Oe sy ral ¢ a e ¥ i Rinne yd Uka sin nS leet ond ele a ee eee 4 a - rer Pa FAS tr Sy oe Sa i nd eC 3 38 FX. PN ad oh ed tte tn J ~- ~ SS a id te Sas Se PO Auer ne etcub tucker eT ce, ere ed - ~ a =i . 4 * = “pip vd es - Dy teile > Se tSR Fae ye Qf ty ee ee ee To Pa Pe Pe ie eo ee ee eef ; \ * \ \ , pS] THE PAGEANT OF AMERICA re etek ett btu Nina t eo, A HARMONIOUS INTERIOR THE same qualities of contrasting simplicity and schooled and restrained richness characterize the interiors of the Lehman house. The living hall has rough half-timber walls and heavy trusses above, and rich oak Tudor paneling below. A focus of interest is given by the carved stone Jacobean man- el bette atele tit pied chal el ee elt Me 2 s tel. Such a room makes a pleasing setting for either quiet family life or a large and formal party. * ate a, Ded od . eral aeante ened ed et raid Pah ie bree te oT rsd rie ei THE CLIMAX OF ENGLISH TRADITION IN AMERICA “TKTLLENworRTH”’ at Glen Cove, Long Island (No. 643), is one of the largest and certainly one of the loveliest of American houses based on English tradi- It makes particularly effective use of stone, i‘ F Ni \ , A ps Jot Postrace te Gy ATG : — 1 a Tae f ~ aes ae | waar tion. bod Vine bt bel hte LE eh het ee eT Tey pi a ee Sor 5 = Cie 4 Poo te » ° . : ue = slate, water, and the green of growing things. (hy ‘ —. at uo eer . ae tT] . ‘ oe eo . oe ag ae re sail ee - $f ho ~* ae aes 2) a “r T= ee a ee Er es a ae Sa) ent Ah A a Ts 642 John Russell Pope, architect; photograph by John Wallace Gillies Bi 5 3 eae | ee ie &; ti, 7] J ie a te .. cn ae 5 Fi A + Lae iz ey 7 ae Ae he ee ae y ees a 4 cl fr A es ( V i re) ri ry Z a ae 2: f a ie f F i i . I: z Hy c rs aa har q oa Ye Poe Es 4 Li fi 7 CI bil ‘ a} i A a ‘ ' e and Ackerman, architects ya ie Trowbridg a NX w AN ADAPTATION OF | FRENCH SOPHISTICATION Frencu forms have inspired many modern American country houses. The Goodwin house at Woodbury, Long Island (No. 644), shows how even to a house comparatively small, French Renaissance chateau forms can UF give a combination of person- ality, informality and sophisti- cated refinement that is typical vin, Bullard and Woolsey, architects; photograph by John of much suburban life. Here a pW ese 644 Goody and contrast of stucco and brick quoims llies we 1 W alle Gi high pitched roof, a polygonal Vallace Gi polygc 1 peaked entrance tower, slim French windows, and a pleasing blend and window frames give the right atmosphere of cultivated charm. ed hae het a tod ee et Tk —— tnt = Sa coat = Aust adiptks hal Pete to eet brt at Gils leh een ae te ae Ue ee Ti ? _ > Ais ARS Ss Pee 3 ia ey et ee gt ka Nes be a = ~ = ba a ee ey nt * - 4 PS tees a Te Bs 5DOMESTIC ARCHITECTURE 267 THE BEAUTY OF SIMPLE COLONIAL In recent years at least, the most prolific source of inspiration in house design has been the Georgian and colonial of our own country’s youth. It has proved to “‘belong’’; its own closeness to us has made it seem at home not only in the East, where the origins are found, but throughout the country, except in the Southwest, where the climate is not congenial. The Baum house at Syracuse, N. Y., shows how beauti- fully a modern adaptation of colonial precedent can suit a small house. Like most modern colonial, this is a free adaptation; it is in no sense archeological, 645 Dwig . ah ie 4 ; i eidll ———— Peta ht James Baum, architect: photograph by John Wallace Gillies SOUTHERN COLONIAL INFLUENCE IN THE MODERN HOUSE Tur Whitall house at Katonah, N. Y. (No. 646), is a development of a southern type of colonial, with pine) great end chimneys, high pitched roof, and small, undecorated dormers. Its dignified restraint, its direct and simple composition are noteworthy, and the charm that is gained, despite its comparatively small size, is remarkable. ANOTHER SOUTHERN COLONIAL ADAPTATION c 3 ‘“ALBEMARLE, the house of Gerard B. Lambert, : Salah ) Sap MES fe 3 Nee ae (Dk aly Sager es K Thyggew wy Ae Rite ta bt Cyaan 7h ta Near es, ix ny t ‘ ; Y nt Fait fens . Ve uf 7 b aN 646 Polhemus, Mackenzie and Coffin, architects at Princeton, N. J., is a typical example of a formal type of house with a long two-storied portico inspired by Mount Vernon (No. 174). But, as always in the best modern work, there is no copying; round columns take the place of square piers, the brick texture is made more rough and interesting, and numerous details that belong strictly to earlier and later styles are present. Even in- using native colonial precedent, the modern American architect is eclectic; and the unity he achieves is eesthetic rather than historical. P re S « be Tere ae f 7 cele Pape yt Re ge pata) ’ a : ue Bt te At he So : te opt lt +P ori e nal f ‘ Pan ® eT Se aid oeay The a a = : + ; Pa, (i. se r uy af sd ae — - Liat i ; ay Bryant) 4 tt uti a a NT eee RN eta ok s 1 - iS : Seat . Tet ee 410 pee _—~ ca se ee AY ET eh ee eT BR ID 0 SEP Ce STS aT Pa SL ERNE TI A ST TT PD SE a SS an pert 647 Harrie T. Lindeberg, architect; photograph by John Wallace Gillles , eho ae Pe me eS LAY Sasi rm & he rt potter —F WEG “PEST IOL 3 ht. PT hoe te | Pee Deer RD OSS e DEEHeEN fers SO PPP ertrcr ir Thon tr ht ork i iy Reperaaty restate cer it fe us = . Se aca eerre ne ais a Pia SEE 2 FX Se Fa, S ae te ee ~ Pe POUT PN mn Tt st aa or y are ee Eee oh eS ANT 7 Se er, PAN ECT Doss oes = A ee a > . wie Piao > ye thie tee Es 4 re | i we | mS a} Se a) 4 4 i hs i > a = 4 v tr - # _ . - x . - - s= 5c Sr ee Je Pe Pe. Bt ed ed = ar yer gars n 5 ~ eS r . ETT Ser 5 Se 00 woos 74 eo x PP a el tol ee Lead ar a ‘ oI Soyo = Th OL tt, Fs FONE TS ht teed dt ek hee SPRL O40 oS eS Ja Soe a8 OSS IS VUTEC Pe oles caln Garces ad ee re eS Pg ek eS ote A Po oei \ ae) PRM ies a) Peer abate res baton tre cet, SR eT aaerde 268 THE PAGEANT OF AMERICA THE INSPIRATION OF THE SOUTHERN CLASSIC PERIOD THE great Doric portico of Villasera resembles the porticos of southern man- sions built under the in- fluence of Jefferson; the cartouche, or shield-like frame around the pedi- ment window, is English baroque; the iron bal- a =e! 648 Charles A. Platt, architect; photograph by August Patzle Vaishali Aare plete od tt oho ne ae a 4 to Be be ah lead bl abide tbh babel ck Debt MD | e : Soa a ae ee . : Ms - ‘ i Air . e ~ pe F - a) cony is a piece of free design; yet all is unified; all welded into one harmonious and delightful whole. This house at Warren, Rhode Island, is a striking example of what might be called creative eclecticism. MODERNITY AND LIVABLE CHARM THe garden front of the Willcox house at Radnor, Penn., shows a fresh style, which, despite its affinities with certain English work, is still typically modern and typically American. Here again, as in so much domestic work, the qualities of color and texture of materials — stone, and brick, and touches of wrought iron — contribute much to the total effect. The U-shaped plan, with its raised sheltered terrace and the two loggias at the ends, succeeds admirably in blending the indoors and outdoors into one; in tying house and terrace and garden into one ber biel eth tet ain en ee nT - Cet haan! by ee data oS ae - a need Per hd ee 4 SN Ti il ell ee sir ned Po eS ek A et composition. ae FH 7) ie oe > Oe .! Bi a Hi ot Hf ‘ . E ae i [ 649 Howard Van Doren Shaw, architect; Re toatane by H. Parker Rolfe ~ a. PRP TTT NY “a Bes ene os sac Mile HTT He NS RENN Sse une BrP R AR ery oe af ale FR Ca PX Phd 4 SN a eat het tat tel tahoe Rete eed ae eel ioe te ett tad TR a pt a fi 4 So e earl ee ahah ty nA am, fe or A rn - ie Aesr irr! SS ee < ids Te THESE ee ; n oe ee pad SPE Ge x aia yen 650 Lewis Colt Albro, architect; Lovett Rile, associate AN ITALIAN RENAISSANCE HOUSE IN THE MIDDLE WEST Tue Italian Renaissance has been widely drawn upon, in the same eclectic and creative way. The garden front of the Bushnell house at Springfield, O., shows what lovely combinations of arched loggia and simple stucco wall and rich cornice are possible in this style; all vivified with the delicate purity of the early Italian Renaissance detail. More romantic and more tractable than the Georgian, simpler and less sophisticated and more intimate than the French, the Italian Renaissance atmosphere has seemed exceedingly appropriate to much modern use. Se ee ed ee ss SAP Aen ee er hs bee ttl Shel he bette a RAS PATA ae Re eh - 7 «tessa P poIN THE TRADITION OF THE ITALIAN VILLA THE entrance end of the Rogers house at South- ampton, Long Island, shows a picturesque and emotional treatment of Italian Renaissance in- spiration. ‘The great ex- panse of textured stucco wall, the rich classic door, the arched balcony win- dow, the sense of differing levels, the tile roof, and the simply capped chim- neys combine to give picturesqueness, welcome, 3 A a ee Ue ALP at ia) te nie OS i DOMESTIC ARCHITECTURE 269 PRT EPOSY Pm ate opi Le ee cece CPP Walker and Gillette, architects; photograph by John Wallace Gillies and a sense of the romantically mysterious that is instinct with personality. TP rrr BAI aaa SGM Roy 2 i | + igh Sa n P wes 652 Walker and Gillette, architects; rs a9) a . ~ . so A aoe bate A=] at photograph by John Wallace Gillies VIVID PERSONALITY IN AN ITALIAN HALL Tuer entrance stairway of the Rogers house (No. 652) shows that dramatic simplicity is the note of the interior as well as the ex- terior. Its simple stuccoed walls and vaulted surfaces, its arched landing window with leaded glass, its brick steps, and its delicate iron handrail bearing pots of growing greenery create a charming sense of invitation. ITALIAN FARMHOUSE PICTURESQUENESS Tus modified Italian villa style lends itself with particular fitness to the rambling lines of garages, service wings, and their relation toa house. The service wing of the Duncan house at Columbus, O. (No. 653), with its simple tile roof and upper windows, its wide doors, its charming roofed gateway, and the picturesqueness of its mass composition, has all the charm of many of the smaller Italian villas, and is, moreover, a simple and direct solution of the problem. Its style, as usual, is frankly and freely eclectic. 7 7 e 4 5 ae ae eS bry Mate i SNipRETee ne as Saal nee hk SAE Seg 8 be par Nese ae epee Miller and Reeves, architects a Laie all | Mf bay TL Pont a. eee Sn) = Ro Bak Se rHoNcer ore eM sar nen coy eee AS Seta iS a a iterator fh = nt PAT DER Kia ch Pea Pt —) Ce i) | ver! i ey ePUTeN en TePlret tal) . ‘= as fa TAA LS he 7 rf . eps * wae, ele. LS eee : aS eee = wre 3 ae Pett -, a Ped ns gay eer = ey Ay * ot yar Aa Lo td 73 a oa A m2 rf) ‘ Fi r ¢ x 4 yer eed ~ es Prd nie ” SEES aaa tsa ay TSS, fm Pe oP et ed ed i pie of) ayo $e - ie ri Fs jog pert See ga eh) Te hod oo * ery ir 7 ae > « Py es as ath \ a ta * i 2% ‘ 4 77 mt a Le Ja A 4 ~s ~ = oa 2 P os? 4y oe ayo ee ie tos te PEM Ey er St ". PN es oe ri Of vk re So ae bet irate ett ky beh let TAN dh nt - - el) ined boat ia labet it Tul tele eS eet) Ft mdb ES = PR ie. ek - = Ny ech Vine lon bb phaser aera abel od thd blades Unie heat R Ps « - . 5 i . i CO ee a eT et ei tar he a pee - . eet iseees es pba aes “a a 7 eS = i | a E yiee s tit + ae ‘t a) Hoe i) B} i ») t. sd - a £: 5 he ff a io Poe i) is i oi 3 ers a ra let e Since | 2 ae fi + as ri f 4 f oe - it che a a = = i i ta tl td Ste Need ee Neh eet tel Rats Niel el eh? hn) By, RR ee Bs Se Sa cerens Fae ~- FSA De ot mn en eet meg ee brett te tee el be he ee a Te Pe ee Ty ae ht ee tts aAy> . + te ae aa - ¢ Sas. gt ~ SE hci 2L Coe a 4 8 i ee. Nat baht te Meter hs F oe) os 1 Site Pum, r 5 Mi so a P! . oe THE PAGEANT OF AMERICA 654 Charles A. Platt, architect BRILLIANT POMPEIAN COLOR IN A MODERN COURTYARD Tue Pompeian Court of the home of Harold McCor- mick (No. 655) shows Platt’s work in a more defi- nitely classic design. The entire vila is really as much Roman as Renaissance, and in this beautiful glazed court the Roman influence completely domi- nates and makes a composition with all the delight of white colonnade, of marble floor, of a central pool and fountain, of walls rich with fanciful form and deep color. Yet here also, it has been, not the little details, but the large spirit of Pompeian work that has controlled the design. } . cond Mi a f -_ 4 > * = Pina J nape vo? ee ret : Sd - ree pe MS ee a] : * rid ™ id Le a 8). gig OO elke), deme DLS yea wl a ee 656 Pierpont and Walter S. Davis, architects; photograph by Margaret Craig xv P aos 7 Dita Ned BY | HARMONY IN CLASSIC ECLECTICISM THE modern eclecticism of American classic work is most marked in the designs of Charles A. Platt. It is his peculiar genius to take inspiration from Greece, from Rome, from the Renaissance of Italy, France, England, from our own colonial, and to use these varied inspirations freely, mixing, combining, creating new forms, governed only by the most rigorous esthetic logic, re / re Ss %. + 2 ; J interested only in producing unity and harmony of atmosphere. This room, in the house of Harold F. McCormick, at Lake Forest, Ill., shows this eclecticism. Basically, perhaps, Italian, it has, never- and yet a theless, details of all sorts wonderful harmony of effect. m «9 me 0 m _ 7, i a pemata St - oe wtp e owitae™ ohne rhtdads ai! ye ere weet eae eed es —s tah hdaeeeeae Pe wes ee ane a> on i Feb Rae 5 AL a : ~~ onde Charles A. Platt, architect DRAMATIC CONTRASTS OF MODERN SPANISH ADAPTATION WitrHtIn recent years, starting in southern California, there has been an ever-growing movement toward the use of Spanish Renaissance forms in domestic design. Based originally on the crudely simple and effective Spanish colonial work in California, it has continually broadened, borrowing direct from Spain. The Eltinge house at Los Angeles, Cal. (No. 656), shows the dramatic picturesqueness which such a style, well used, can produce.DOMESTIC ARCHITECTURE 271 MODERN SPANISH AT ITS BEST Tur Dater house at Santa Barbara, Cal., has all the qualities, outside and _ in, which bring beauty to houses of this type. The free balance of mass — flat roof against pitched tile roof — the clear bright wall surfaces, the open- ings carefully composed — ornament austerely concen- trated, but vividly rich where used — balconies of thin and delicate wrought iron (a true Spanish touch) — have all nf Mm et b ~ \" ' 4 on Bt! \y wna 41 y hol. mK me eSeeee ieee = that careful combination of Bertram Grosvenor Goodhue, architect; photograph by Kenneth Clark texture, composition and color which produces charm. The patio (No. 658), with its three arches, its Algerian tiles, its contrast of foliage and stucco and the brilliance of the tile work, has a similar dramatic quality. <= =: = ~ Le SS Sa 658 Bertram Grosvenor Goodhue, architect; photograph by Kenneth Clark CASA FLORES, A RESTORATION Nor is size or elaboration or great cost necessary for the success of these Spanish- type houses. Absolute and utter simplicity, like this of the Casa Flores, at Pasadena, Cal., can, with its rough walls, its tile roof, its paved courtyard, be made as delightful, as inviting, as beautiful as any richer and more lavish composition. Some of the charm may come from the fact that it is a restora- tion; age has already touched it, and pro- duced some of that unity with nature which only time can bring. Carle ee Pact] . we? Se tie ee at Me vin td ton Monroe Winslow, architect; photograph by Hiller re oa z , ace e s d ad - ETE i Pt tee bore Rey (Citta re aa) ld = ce cay bea iia niwiais wasn rh Te py SAC Mane ERE . S TERE CEPYES Portier th ov pyre e tg a t. Wo tr bat cre Tet ee ~ tev ken ak beh oh Ten Ce 7 PEPUT ER oe Pit) RS ge ete ete ) ed “ta es ee a \ > + ce a ay ed sh A rs rok ae pa oo ee) og at ie erie) =! rp ht ea ee doe et A A) ee Pa ee oe Le Pe ee oe a ee ~ Serr pe e oc OY 5090 30) Pt ey a PT P| Pg af a VF sve. eee a “ ae S238 305 ow os ae Sk i eo Ts FOI * 7 ’ — ) A © q ne . ~@ - i Sa eT So aGe Ft 5¢ Paar eee te ee eed . *- at pa ee BVUCE Tete Pele % ¢ eeaa i; \ pe] My - 272 THE PAGEANT OF AMERICA Pibed ieok ober dete ET att (hth Bee Api) es ke erie: Ae —) ol ay . co ete ear PPS ye er re 4 ee mA VL iI .* mt ke i ~ 660 Frank Lloyd Wright, architect ee OSS a 2 " es r 4 Pe te cea ai ea aaed i feel td oh eg a id pedi eld el wher babe Ube bile e et LOR LE “SECESSIONISM” IN MODERN AMERICA ONE very important factor in modern American house design is the free modernistic work to be found mostly in the Middle West. Influenced deeply by the flatness of the central plains, it is an architecture of horizontals daringly elaborated and reduplicated. Roofs are flattened, eaves extended, windows ranged into long groups. There is something a little Japanese in the strange charm thus developed, in this house at Highland Park, IIl. AN AMERICAN ITALIAN GARDEN THE same elements that characterize American country-house design —eclecticism, finish, restraint, refinement — charac- aah al baat Shien a eh by ot 4 Pha) pe ht tra arr 5 Cd ea eek Seed bitte bel ete kT terize the gardens around them. Colonial, English, French, Italian precedent have furnished the inspiration again and again. The Garden Theater on the estate of Samuel Unter- meyer at Yonkers, N. Y., shows an eclectic Italian treatment with certain Greek touches, and shows as well how wall and column and ornament and foliage and water are welded into i dad i oe met eh! a iy rg ts et, oe ce ES one, as they should be in every good garden. FARM BUILDINGS OF LATE COLONIAL Farm groups belonging to large estates have not been archi- tecturally neglected, although the actual “dirt”’ farmers’ farm buildings suffer from that deplorable lack of a true rural archi- tecture that characterizes modern America. All the more pleasing, then, are such groups as this of D. A. Campbell at East Norwich, Long Island, where practical requirements themselves have been allowed to determine the forms, and the whole, by careful composition, and the use of a restrained late tare oe pee 7 fi a, ae | a te ra Offs ia ee ie aru) 4 7 4 a HA Pats 1 ay re Ps + ae? | a oe tat inh f ty actu te hore tears ‘ ” : er j . es 7 me : | any se : H, . i ‘ “iN a thdatanae S » im. 662 James W. O'Connor, architect; ae “Era <8 ae bee eee ee Cote elk dee tee tt tel Dulko eh an FAA Aho se aS ; ss _ biog de ee a See Se eS Mth A Pediat Pe 4 eo 5 a a& ~ - + , - - ~ ~ ~ a es ~ Sd - a — -~ a ~~ - ~ ~ - ~. i ECe PEEP EEC werk oe pt tay rb a ete bl ta) } PCN at Ma) DOMESTIC ARCHITECTURE 273 a co Ree yh “dab s deve 2 eSy Kersey ot ie 0 “Or FARM BUILDINGS OF FRENCH TYPE THE garage and farm building of E. M. Barnes at Glen Head, Long Island, built in a more picturesque Teen rt Hee ESsEwebeD Pee So ae bag ko style, borrows markedly from the rural work of north- ern France. It depends for its effect on picturesque composition, a tower, and outside stairs and arched Olea openings, and on a careful and original treatment ot rough brickwork. <% 5 WE Wank » a ELECTICISM IN A FARM GROUP In the farm group of C. M. Schwab at Loretto, Penn. (No. 664), there is an influence both from Nor- mandy and England. The lower farmyard, with Pa Data farmer’s cottage, barns and storage sheds on one side, AST ye Atos and sheepfold and piggery on the other, is tied to- gether by slate capped walls and wooden gates. Long roofs of variegated slate, rough stucco w alls, and the oa aw ae r) attempt to fit the whole as closely as possible to its hillside site give it the desired country informality. fS 2 Se a es Pea a Tove tre tt pee ae ok it a es : 3 SOs cay? Poa pig 4 - * i ar) ¢ Bh A om 7 ea ode: ae wat Se ee PP Ie ty eee Pe Pe ee ee PN =: Peed ed , . Se peo pa Tw. DEE y Nes ~ ' Wad siek Si = fee ee ios ae aie 5 664 NaTOE, aan Dana, architects; photograph by John WwW alae Gillies i — ss Ee A WAR-TIME PROJECT | BECAUSE of the congestion in cy 3 pe SPST IG Sa ety ta 555 So er Sees ie Pe) i ps Ie ee ORS a Oe Pe ered manufacturing centers occasioned by the World War, industrial villages were developed in many parts of the country. Here J a tm liom 2 * oo SS ee Lely ota e at ats economy fostered standardiza- tion, and that led to unity. The Waterbury housing develop- ment, for the United States Department of Labor, uses only two plans, but by reversing, ) turning, and combining these, ms aaa sana AUS RA Me op Sea See fs mcr "3 wa (ae Sw ¥ ye sy bed ke ee Q & ree I wr raw th , 3 Vs aw fn . . £ / ‘ yh . a ‘ V4 f ac ee 2 ‘ ah} 7 7 pA ew =o) } arta ‘ Onan Le ; , . SS ie h a 4 i} j d - 4 j . | re ne i 7 > co : 4 Z a ; ‘ A (eat) o r ‘ a a u F . 5 Pl s be a - q ‘ e 1 gi 1 bY Fn . P| = , a AL . oe a é ’ = + 7} ‘+ a et ane Les Saat and by careful use of inexpe nsive materials, an effect of unified Peder ei had aoe wim CL, Pe Pa te variety is achieved. 665 ee he. é . ’ a . Je aa gee ead ay. » ON bed\ \ \ eae 274 THE PAGEANT OF AMERICA SEP YT Eee oe eT ae, ay: THE CHARM OF A HARMONIOUS TOWN CENTER THE Market Square group at Lake Forest, TIIl. (No. 666), is an example of the civic center developed Porat eit Sd ~ in a small suburban town. Instead of the usual Dh dele d bet ee hele Dt thal tele te : dA Br TREC “ chaos, the shopper finds the shops centrally and con- veniently arranged, in buildings whose charm lies in a mingled English and continental inspiration, freely treated, and in a governing sense of ordered in- formality and picturesque unity. bela Vie banc bh heen ern ear reine ati cad oh ole eee re Rr S e Pac ° - + ~s * - rr “a0 a > | ~ : Sag oti, LO >, ae t. week ‘ os 7 * et Wl a TEES 5 666 Howard Van Doren Shaw, architect SEASIDE VILLAGE, BRIDGEPORT, CONNECTICUT Tue housing developments at Bridgeport (Nos. 667, 668), started during the World War by the United States Government, and carried on since under poe -° private management, are undoubtedly among the most successful as well as the most charming of all mre ne By oe rhea ee oer ale et me Ch “We rety 5 ot La Sls 7 wre. AA en) 4 —— e ° + y* . ‘ —\ a ey ~ - aie such Americ hous erprises. W che sim- : — SUCH \ aed SUSIE ent f SAE ith the = 667 R. Clipston Sturgis, architect; photograph by courtesy of the plest forms, a strong colonial flavor, and a skillful use Bridgeport Housing Company of brick, slate, and white trim, there has been produced a whole not only beautiful, but full of an all too rare quality of seeming truly native. Here the institutional quality —the danger of such projects — is absent. . "ke Pi . ‘ i I i tt deat eter ea Pa ae hla aah at he aA A eed ee tae ee oT POT eee a oe ey eT an ee ee eee 53 * ~ = . Ki aos ay. hr Cy “ns yf i a SS i Nar ar ar ad ers ar ae ea ‘aie tenes e ad ~ Pies z a ~ 668 R. Clipston Sturgis, architect; photograph by courtesy of the Bridgeport Housing Company A COLONIAL TYPE COMMUNITY BUILDING New shops in the smaller com- munities usually follow colonial Sy . = Se or English inspiration, vital- ized by the most delicate treatment of detail. The com- munity building at Watertown, Conn., shows a colonial ex- ample, whose red brick, deli- eate white trim, and bowed show windows fit perfectly bd eke nd hi ehhh et Relates lai Neen) St al See Rete be te Le PS i eet etl Nal “hath lean on besa Dent ee Re ceedton Need Ieeeel ten Dh teen Yt te ’ ~ ry Ae . i ey ae ig ae} a Taga =) Swe <. ere ar f 5 << J ch Ae a. ; . Je eee , a 5 STS Bt 2” a i, Sa, Nila ee AmATN V1 Ses et ee AE Aa Te eee ete ene SS into its setting. 669 Electus D. Litchfield and Rogers, architects hat tae iphab teak aad shalt th te ha od r ret hy a nc . J Eat. ee ™ aN, “ « - . S =Pieri ‘Dd ad eo ae | I ee of PARA ee ee ee ae bee | he re ir Bri Pere Jes ek ee BY 20 Ped ny JPL eB SAY aA Do J ay 0 hh ee Pe LL PO eA pb as ~ Cada ae * BLA, “y my Sa i lal al : She 9 » Rtas DAG Haas - Uy Do Lies bad LC DOMESTIC ARCHITECTURE to ~I Or . are HARMONY OF STYLE PRODUCES REPOSE One of the largest and in many respects the finest and most complete of war housing developments was in the village of Yorkship, N. J. By the adaptation of a delicate version of late colonial, appropriate to the locality and the materials available, and_ skillful PH Se CUS ye ee RE ATE Rt yi Thc ir a re simplification and grouping, a series of delightful a | ee we , Boat tee: ad hf aie streets was produced at small cost. This view shows f oy the church and the quiet brick houses along the street that passes it; both church and houses are unified, and the effect is lovely; yet there is no sense of monotony. er Ns errs se eT mt Cae poe rere Ce abe fh eolet ttt ot teen bal. wo * é poate | ite - < 670 Electus D. Litchfield and Rogers, architects INDIVIDUAL VARIETY IN A LARGE HARMONY Turis detail of one of the rows of houses (No. 671) shows the porch that each house possesses; it shows, too, how charming is the con- ep kt Ce ete tk eed “ae % Bp wthy mh Po a Erte Pre PU eds tee toe eT) trast of white detail and red brick and green foliage, and how much S ‘more beautiful a well designed row-house of four or six families can Pe ey uJ be than the all too common rows of disconnected tiny cubes.. The effect of such an environment as this of Yorkship on the health, happiness, and sensitiveness of those who live in it 1s inestimable. oll ae 5% ———_- —--—— — — —— ——— ee, a Ps Ps se ns fs ene eee te ete el wn “3 ay ot a Ss rr - prpeet peehe ah exe PC Sy 4 at eee) AK Ae" pS “ Ri 671 Electus D. Litchfield and Rogers, aS architects eo es Ppa pa Pre, BEAUTY IN A SUBURBAN DEVELOPMENT PrtHaM Parkway Gardens is a suc- cessful attempt to make truly satis- ~ r oe ty 7“ ee i . Litchfield and Rogers, architects BAe" foun 672 Electus D ee es oe OS oI : P r 3 i SE hr So. Pe ee Ce et ed to td fying and lovely a development of a rather different sort — the typical, speculative, real estate development. The set-back garages (No. 673) make the backyards as attractive as the front, and the garages themselves, instead of being mere sheds, are distinctive additions to the architectural beauty of the whole. uJ fs as Sore aue yt oe Fae 5 hg ed Ve OS Se sa dt ye 5 Fe Te TT a te et eae) ee) Le re oe "7 - rer 5 ST So eo ve oO ra — S - ie ’ : uJ ~~ % reyp dS49 5" ag ee te ee es od ae Liston | Rh ria ge tS vi re eet Oe = RR ef SAN OT ere Lista a Ge Ti 5 . 673 Electus D. Litchfield and Rogers, architects : a J ear. *. nS hoe eed} i; { aie manne! 276 THE PAGEANT OF AMERICA hibit h tet Baa beh aeet . . as ty LAVISH USE OF MODERN FRENCH CLASSIC Arter the brownstone period, the Néo-Grec period, the Richardson Romanesque period, and such pic- turesque types as those shown on page 168, there wa came, with the advent of overwhelming influence from the French School of Fine Arts, a flood of pseudo-French city houses, especially of the wealthier type. Typical is the house of ex-Senator W. A. Clark S ) on Fifth Avenue, New York (No. 674). Louis XIV ae ut and Louis XV motifs were principally followed. Coarseness of scale, restless curved lines, ostenta- G a Ap t tious richness, and particularly the use of the car- touche, a richly scrolled curved shield, characterize me. many ot these houses. z \ behd cate eet en eteke thd th ESSE Te ee et ee , or Fea i er De ett } \ hla ro belt ar raeereaae nica oo Ft ohan atte hed Ade eh ined bt abet Ethel tel alee eats nati tees 674 From a photograph by A. B. Bogart A DUTCH RENAISSANCE CITY HOUSE Tue French type, although popular and persistent, was not universal. The Flagler house on Park Ave- nue, New York (No. 675), is a pleasing contrast to the French houses. Not only is the whole quieter, more restrained, better composed, but materials are ain os Th Pad bh es handled in a simpler and more direct manner. Poy | rs 3 ee de el a er ° a ae est 4 AE D 2 ort af CS * . y a Ss > eee ’ = i , i 4 eae fe 7 ae ; it y ’ BE / bmn a hs 5 ms 7 4 4 * cs 9 Pim, Ps y _ » 5 ong] pm ba deta an eon i tao eee bd tlle ha ta hel hs ak ant eal ee ene eet ete ¥ sop ma ie apes Lal hh aN i oe An 2 ie pT oo ne RTE atit~u? = OF ¢ pe HP A ee * eo - : _a ~ ~ Sot pk ara ae 675 Little and O'Conner, architects; photograph by Wurts Brothers a CHEERFUL DELICACY OF FRANCIS I In designing the residence of W. K. Vanderbilt, Jr., on Fifth Avenue, New York (No. 676), the Francis | style of its immediate neighbor, the W. K. Vanderbilt house (No. 397), was adopted. Of excellent composi- tion and silhouette and with the closest and most pleasing relationship to its older neighbor, this house reveals the advances made in the design and execu- tion of its rich and lovely detail, since the erection of bender eae) tel ees a ctl Deal Meade eh densities bee Dect eee Yoo, tattoo test ieee eden Lan hea en et hae et Ree « ey SS i ae ie ee a ee Tamir a a * mh - 7, - = 7 . or ea F ? + a rh * - Pa ape * em . sie A 2 eg 676 McKim, Mead and White, architects; photograph by x aon Wurts Brothers the older house. ancl bith tte het te ht ee hd od he ted Sh Rateiie the . : Essaat ee rn - 7 , : ee Sig ee ee Lee, ete e a 5 er I ae or aL Gr 4 Tee WUE So Ap vr oh ern UP iO does LA Be. Rae Pe es ee 1'F4 “Py. . : as ae ’ . . eer . é ‘. a dene ba J “ ple Lad Bir Be - CP a piv oy ‘ Pe yen | i ) As 3 arn Fe ee a ee PUTS oe ei bv re if pas Fi : 5 5 ‘ . i i] i rod H x : 7 U U "he i Se Der Pe PU , ; 4 ea, Pen lal Sah ci Racers wae et IN PLUM ar are Le OS ie Ay re Dy LIA at brad Um DT Ye Jit del a mae be atid ta ona Bhd ts aes A Shs a TEP Ee EPPO Re pat fas be ae a EG ANA RS 2 F DOMESTIC ARCHITECTURE v2 ~} aj % si PERFECTION OF PROPORTION AND HARMONIOUS RESTRAINT OF DETAIL Ture Kane house in New York (No. 677) is the most perfect modern interpretation of the style of the Roman Renaissance of the early sixteenth century, Xe riet y at tert - oer er tit that has yet been produced. Scale, proportion, and 7. rier ot) detail are all as nearly final and right as it is humanly possible to make them. The material, too, is distin- guished: a limestone full of fossil shells that give a most interesting texture. Despite the simplicity of Pree se LS Wet Paco oa A) the whole, its distinction is sure. It is a valuable civic decoration. os _—— —s en art fi) K ) > ¥ U nh Rs 5 é ee a res Ci eS Dery = 677 McKim, Mead and White, architects; The Architectural Book Publishing Company, New York A SIMPLE GEORGIAN CITY STREET GEORGIAN precedent has been found well fitted for Se eee ¥ ke | dove we yw hea Rt PUT ER me TROP Stats Pee Rte Pare city houses as well as country houses. This 1s par- ticularly true of the smaller types. The houses on Rittenhouse Street, Philadelphia (No. 678), develop the local colonial eee of Philadelphia in a way —h “a ’ a es | pK peculiarly apt and full of quaint and simple beauty. b ah re et ee Y La wy ee ey | TaN PST Dae 7" * i aoe A A a eg ed eT ‘ aS te) - 3-4 Sabine ree ee L “ eI +f ~ é ; ~ - oy ee ed Ee [= a de wa £6 fe > we SFO 7 * 5 a , f — z +e Soe Q-\—" Se 3 Se ae re FI eS 3 Me eek ee ee ee te bd a 678 Stewardson and Page, architects; courtesy of The Architectural Record ECLECTICISM IN THE ADAM MANNER Tue residence of Francis Palmer in New York a Ny ap th Wie mn “a ad of i >. eh a) a air See Taco PI re Ne Te tise ck MODERNISTIC TREATMENT OF A : CITY HOUSE NON-STYLISTIC city houses are not common. Yet this al show. , > - o rT g Ol a . i a J ee un S ‘ @ - —— sy . on - . ra yn , -- a+ ° ot J 4 « al a Ss ‘ ht pele i a ite » = - ¥ . Se . . oe i. £ ae 684 Frederick J. Sterner, architect ARCHITECTURE a79 683 John Russell Pope, architect; photograph by John Wallace Gillies THE MODERN ADAM INTERIOR TuE living room of the MacNeill house at New York (No. 684) is a most formal modern interpretation of Adam precedent, with its wall enlivened by the dell- cate color of reliefs after the manner of Wedgewood porcelains. The rather severe correctness of the period quality is unusual in modern work; but the beauty of the modeled detail in wall and ceiling, studied in the manner of late Greek and Roman reliefs, has a delicacy, a liveliness, seldom found in the old Adam work in England. THE FREEDOM OF THE MODERN ECLECTIC COLONIAL Tue living room of the Lathrop Brown house at St. James, Long Island (No. 685), shows the same eclecticism applied to a much simpler and more informal room whose dominant spirit 1s colonial. With paneling and a corner cupboard of mid-eighteenth-century type are combined, in a truly charm- ing unity, furniture of late Hep- plewhite, Sheraton, and Duncan Phyfe styles, a modern uphol- stered davenport, a Persian rug, modernistic — and a strictly futuristic — wall hanging. Such a room owes its charm to the frankness with which it expresses the personality the likes and dislikes — of its owner. eee Hf Pen heer 40> = pet es! 685 Peabody, Wilson and Brown, architects; photograph by Tebbs and Knell, Inc. dy he MBPs ie ne Teo TY x - . tr. Doar — ” ts oo ~ Pe al Tit. 4 bow pe, Pe ad "a Po “ Pe or ~ Sr Te: 3 : ~ ha fae ae ~ Rien. 7 See ry a ORE LTS, A Peeks he ee < et) ? 7 ei sa ma « Bh GS eas er Loe lard — Ld ier ete yt tri Sr ve ee matt S pe en te a ia Vin) a oe pee ake aw aT We oe Noted — Pet a ’ | i ln oh Mall od Pt a) Pye et = Ye - PUTA a. Ot) u RD Sere " ad - © ae a nF Eo Terre he ala. ays Aer aS , 5 vec ‘ir on! Pe ae zi ro be tl PD a B | s fz) s Oy ae x} i Bates | : Ww) mr y. A} a ¢ : g ae A “ 4 ea ee to aS Ser Se po supe Py PP Tg eel edo et J - 4 - Soo Sa ? * ele 5 . io cP it ten del ie bael-b ee Pe gn) rt) Tee ee ree er id - a 4 oo J = Rw & © pv 4 ¥ SCI o eo 3a i> 4 Lal e TE FEE TS FOE Se ee ee ie la a a Pree et ard * CCLwath caves Pontos= R 2 PhP bette TUT hia iat Ray '2 ane phenarthet 4 Aare etka todo) poles nti ein t Ao SE ada let ae! bled deta ideal ie ey PT ed hen Pt " Aaa - z , 2 x 5Fh2 . A = “i ar ne S a Rare a - - - ery o bet! Lo becca Sia ete os Vines Soe baad Fh Aaa Rl hod i eerie bel nd Ph rr Sk ye ot ee xe ek - xr . 1 i, el = & ss eet a te ete Ab tlhe ete ae ek othe hes Sea aa oe ed Ca a taal ne TS Pend a — ar ar “a Cry o a - er oa : - ~ a ee c . _ Pers s « S ee Cy 4 - pt ey a ree eM ~ . << eS e 7 Mt Nahe be el ta heh badd t- art Sse hehe Nal i Sella Dedede Red od Lo ha Losec ean and nda Leanne ter chm tend arlene ota eet eT Gara ao ALS als Ta Rta atc) ea Ae agg) am Ring Sey) ie hen shay dies Fee hie A rte Qi * i a Ae SY tats a pa aan ah? i ple ee . oe fee = Sr See =. - Sb op ee ‘ Sas Dahir De ee _ ns ar ~ ~ tia KI eee os a - 1 @IHPASRA BR xX X I CLUBS, APARTMENT HOUSES, AND HOTELS OMMUNAL living, the inevitable outgrowth of city development, and the ever increasing complexity of mechanical aids to that great modern paradox, “simple living,’’ have resulted necessarily in hotels, clubs, and apartment houses. In- creasing land values and the growth of industry which attracts thousands where domestic employment drew hundreds make them a necessity. Besides being urban, the American population is also a traveling one, traveling for business even more than for pleasure. The westerner going east, the New Yorker going to California, demands greater luxury than when he is at home. This demand, fostered by the widespread advertising of railroads, chambers of commerce and boards of trade, has resulted in the typical American hotel. It is first of all a place of temporary residence. As such, it has tiers on tiers of bedrooms, all, or nearly all, with their own private baths. All the devices of modern mechanics are used to further the traveler’s comfort. Elec tricity, elaborate plumbing, heating plants combine to give him a machine-made luxury. But economy in design is of the utmost importance in hotels, and economy in design means even more efficiency and simplicity of service than it does cheapness of first cost. The result is a building highly specialized, with an enormous and carefully designed mechanical equipment. Hotel kitchens must be planned so as to reduce the number of servants to a minimum. Plumbing must be readily accessible for inspection and repair. Service of all kinds must be carefully centralized, and the whole development is so com- plex that hotel management has become almost a profession. But a hotel is much more than a place of temporary or even permanent residence. Developing along more public lines it has become almost a civic monument, a center of communal lite. There great dinners are held, balls are given, many political organiza- tions are housed and mass meetings called. There “society,” and those who ape it, drink tea, and dance. In the course of this development it has become in a very real sense a town hall, a place in which the whole people feels an instinctive if irrational | ownership. It is this public character that has made necessary the great monumental lobbies, the magnificent ballrooms, the ‘apacious restaurants. ‘This has made the design prob- lem as difficult ssthetically as mechanically, for there is always a double aim to achieve, intimacy and size, formality and charm; the hotel is a public building that must not seem too public, and a personal home that must never be forbidding or eccentric. Twenty years or so ago magnificence was the characteristic of large hotels; a certain ostentation of luxury and wealth, often false and meretricious, through overwrought ornament, heavy gilding, and a lavish use of imitation marbles. Lately there has been an inevitable reaction into quietness and restraint; so much so that to-day many hotels seem effeminate with their stilted delicacies of too small Adam detail. The satisfactory balance is hard to attain. Apartment houses — tenements are the result of high land values coupled with 280; : ' . 4 CLUBS, APARTMENT HOUSES, AND HOTELS 281 the necessity of inexpensive living quarters. And, once the unbridled forces of competi- tion in building, rents, and land speculation are let loose upon that combination, the slum is the inevitable result. Every city has had its slums. Coincident with modern industrial development the slum has grown; a manifest sign of industrialism’s one-sided incompleteness as a social force; the open sore that is a symptom of a deep-seated disease. The slum: congestion continually increasing; dirt; disease; child mortality; de- spair . . . it is all a commonplace. And yet the slum tenement is a type which covers hundreds of city square miles, which forms the only architectural environment that hundreds of thousands of children know — the slum tenement that turns to the street its overornamented front topped with a rusty tin cornice, and hides away inside its dark rooms, its stinking shafts, its rotting halls, its broken plumbing. The growth of the slums led to a condition where regulation became necessary as a mere matter of public health and policing. Almost everywhere in the country to-day the design of tenements is rigidly controlled by law. Moreover, with the development of the social conscience, there has been a great deal of thought and of philanthropic or semi- philanthropic effort applied to the subject. Competitions have been held, model tene- ments of various sorts constructed, and little by little a type of architecture is beginning to develop, founded on the essential elements of tenement house design. ‘These are briefly: air and light in every room; plumbing in every apartment; arrangement of the various units so that the block as a whole shall be as open and airy as possible; rigid economy so that rents may be kept within reach of the worker's wages. Economy has led to the elimination of waste hall space and the most compact and careful planning; and the realization of the importance of the block design as a whole has shown that only on comparatively large lots can efficient and attractive tenements be constructed. More and more the tendency is away from the construction of tene- ments by individual owners, toward the development of large units and entire blocks by large corporations. This fact points out the great difficulty of the whole problem as it is handled in America to-day. With our sublime belief in the potency of individual effort to produce the millennium, we have made it all but impossible for the cities or the states to enter the housing field at all. We sometimes forget that the greatest incentive the usual individual can feel is the obtaining of large financial returns, that unless large returns come from tenements they will not be built at all, and that unless a larger return is obtainable from a tenement hygienic and livable, the unhygienic and unlivable will be built regardless of any ‘“‘sentimental” protests. Unfortunately, the highest returns of all frequently are derived from the oldest, the most utterly shameless and decrepit buildings, which only the exuberant industrialism of the growing cities keeps filled at all. We have not yet attained a solution, nor can we, until the cities or the states are given legal power to wipe out slums ruthlessly, and to provide other and better housing in place of that destroyed. Architecturally, we have achieved results that are promising, which show that good urban housing can be built economically. It only remains to see that this good housing 7s built, for its social value is incalculable, and the need for it bitter. The problem of the design of the so-called “apartment house’’ — the larger, better- class tenement — is, of course, different and easier. Higher rents allow greater freedom; the elevators and fireproof construction permit expansion upwards. Yet the basic ele- ments — light, air, good mechanical equipment, economy — are the same, and many KAI Ay io Ay ie PLLA A eke ae Ae Ser. + A Ee PL ed ew gener tae ey i 2? SRL Ne a) rar ee ara bods er , RET PERE EPR SEs at fay esp Dp Fo “a SAS pa AA wees ye s a - o TS ae Bah Cat x8 Ghai) ck "dw ch ce Zee! a oO * cy ae &e— & oa ee TYPE Pye he hr See es Ee Rope Ta kth Tetateerih Bolster sth a noo i te oe en tart 7 Leelee tani teeles bed ead catt o Lod Vhs ations tr ted tal tae ‘En A is 5. es a Nahe ieee oe Dae Teta eet - ad eee | = C SS See Sea ek ee eS, ie te Sa a, ea Tae | Fae re ‘a a) Leh ae pe Te ee fe rat 3 ae ee nae ee LS * 4 r Om | Se % H 5; ee Ee, Ur £ Os ry a My 7 5 * * | I t as aes a ii Hq re HS i fe if « : v a dy Pat Sb a fi: { iF t: Pier se ea é Lae L &, ht ae Fah) i te & A. ie v t 4p . bt hehe ee bt he bh re deed nd J gp Soh alike tobi et aS cage Se ei on tee S % A ya AAW , a ee \g 282 THE PAGEANT OF AMERICA of the plan forms used are similar. There are more and larger rooms; there is some opportunity for exterior and interior decoration. The attempt to strike a note of domes- tic and charming intimacy is a violent reaction against the earlier ostentation. Restraint characterizes the best modern apartments — a restraint that leads occasionally into anzmic thinness. Where real architecture has an opportunity, the results are often charming; but the great modern danger lies in the specialization of apartment-house design that has led to monotonous standardization, and in a desire for cheapness, which has put immense quantities of this work into hands incompetent and stupid, with the deplorable results that shout their red and white blatancies even from our finest street corners. And since apartment-house and tenement architecture dominates our city environment, it behooves all who hold an ideal of a beautiful city to make it as true, as dignified, as charming, as the greatest skill and the most inspired imagination can achieve. The modern hospital problem is similar to that of the hotel. Recently wards have been omitted occasionally, and the buildings frankly called medical hotels. In these large lobbies are unnecessary, but medical and surgical needs create a tremendous complexity of mechanical equipment. Maximum care in planning and orientation is indicated by the necessity for all possible sun and air for each room. In the ward type of hospital this need has resulted in the pavilion plan, with several parallel wings, each housing a ward on every floor with sun porches south and service rooms north. In small cities, with lower land values, the tendency is to separate these pavilions, and a group instead of a single closely organized building is the result. Clubs are the last class of buildings devoted to communal living. The American country club is a purely native institution, in which American architecture has found a peculiarly congenial opportunity. Long, low, rambling lines lend themselves readily to picturesque groupings; style becomes unimportant, for it is character that counts — a character of intimacy, comfort, welcome, widespreading quiet informality. Whether Georgian or English or purely styleless and picturesque, the success of the best American country clubs is the charm that inevitably comes from the frank expression of these qualities. The city club is a very different thing. Y. M. C. A. buildings, for instance, and others like them, are part club, part hotel, part settlement house. The requirements of all are similar, and there is no one dominant quality or feature that demands or furnishes opportunity for emphasis of any kind; the result is almost inevitably, therefore, monoto- nous and lacking in marked character. Other city clubs — more truly clubs in the narrow sense of the term — are, first and foremost, palatial homes, with or without sleeping quarters as the case may be. They must thus have a certain domesticity of feeling; but they often have, besides a formal dignity, a true palatial quality that occasionally is exaggerated into ostentatious arrogance. It is this formality that distinguishes them from mere houses, and that makes them expressive of what they so frequently are — symbols of financial or social or professional success — just as their domestic quality expresses their function as a center of social life — the quiet and luxurious association of men and women of similar tastes, of common interests.H is ‘ Cd aon ak <5 Roe Ee Re tieeny Pe be ay. a SET ORD etre it CLUBS, APARTMENT HOUSES, AND HOTELS 283 A NEW YORK TENEMENT HOUSE THE tremendous city growth of the decades immediately succeeding the Civil War — a growth unplanned, unwatched, dependent on the oo TE SEWER ESE RESP Pier nnt ry ot Pei - Os mercies of unscrupulous real estate operators, an immigrant popula- tion helpless in a new environment, and the existence throughout the land of a spirit of frenzied “‘grab’’ — combined to produce the city Pere sre LE ees Bradt Seer et) St OL See hae slum and the city tenement. In such ramshackle, ill-kempt, crowded, cass dark and dirty homes in our larger cities thousands of people lived. TENEMENT LIFE IN NEW YORK To the congestion and the cheapness and the dirt there was once added the terrible fire-risk of much wooden construction. It was the ia growth of conditions hke this oat =s Wee an Lo une that forced the passage of Tene- ment House Jaws. —— 686 Courtesy of Tenement House Depart- ment of the City of New York THE HALL OF AN OLD TENEMENT TENEMENT interiors were often worse than exteriors. Not only did thousands of dark unventilated rooms exist — and, in lesser number, still remain — but hallways, = Sow 6 PS eee Pare ty et ry) * gear : i ~ uJ Zz — eS jens .) ea ee ies cele bd ee ee arya aes: left to the tender mercies of a shifting population, a careless rh 7 at janitor, and an absentee land- lord, rotted with dampness and A > A ci a ‘| 4 ae a or} : oad | Ss | er oe a dirt, and the public sinks and toilets were broken and filthy. It is difficult to imagine more unsanitary conditions than those revealed by this New York hallway (No. 688). And for quarters in buildings like es plc aw ‘ Ps i ny ey Ce Pe OO Pepe on Pee eed es 2) this the poor and ignorant are 687 Ragpickers Court, Mulberry. Street, le : ee from Harper's Weekly, April 5, 1879 charged every penny that own- “2 peel oe, $$$ ers and agents can Pea ey extract. ed ee a wei ee So =e oo eS oes Pe oe AS MODEL 688 Courtesy of Tenement House Depart- TENEMENT > ment of the City of New York Tur creation of a tenement house department in large cities and the increasing stringency of building laws have curbed. at least for new buildings, and somewhat miti- gated in old, the worst of these abuses, though conditions in some parts of our cities are still utterly disgraceful. Philanthropic and semi-philanthropic organizations have sought to improve conditions by building rarefully planned modern tenements to set a standard, and con- ditions are improving slowly. The Phipps tenements in. New York show how, by the development of waste root areas, the opening of courts to the street by high arches, es on PA Mg) erty fe a Ty - 7) z Jr. Pt td = Ste oS a ” Dh Dye, Aiea te ee om eieae: ee eee oe 2 Py ee Pet toe TD the use of large windows, and simple, dignified archi- : 1 ° pr ar - ; "y a , ; — Leora Maneater, at ae ae tectural details, a new atmosphere of welcome, cleanli- So neti a {! : -_—— = park ar — sss. and homelikeness is gained. 689 Grosvenor Atterbury, architect; photograph by A. B. Bogart tS and 8 i Sal OY at ble kd i rae Pal a. a dw . ee @ =. PE tate Oe eefe a ae = teal hd Be ee “ — dhe bal eet ch eg te ee ee ed Fs eT ee FR a ee ih tet Retin ian Vite te oe teehee att tn heel Deel te) he eee Vien . ‘ . Oo A ae fd abl = — oo . f Sa par ete) ba = ms i ta cg ora a " by 74 Sot c = bee . a — sot x Lg atti oes * iad tee ~ - i Sy ae ee a hin « n a me s - ay « A CS . - - > aa - ~ < 5 “ ~ é S Diet ih bette btu aay ht a reedaernteat ed Debian net hte ted Beh seh ined blithe it tel tale ated Tee ie pe af Da A aoe Fe eo ee ae ee ¢ zh et taeda lene biel Vie te tl by Pe Oa Sara aps er . a S . . rie) Py = oe = PE gies os, he Patan) c Ral a Te Pentel te kL ra BG Gh4 +) ee ) #3 ae 3 my fi: oe A a ie ae yrk To Ly Tons i 4, ie y U 2 i q #3 Ar aa \ { 284 THE PAGEANT OF AMERICA AN OPEN STAIR TENEMENT THe Vanderbilt model tenements in New York, built originally for tu- bercular tenants, but later thrown open to anyone, have balconies to E: be allow a certain PN s-shaerhas ty jy me amie amount of open-air i a life, and are care- fully planned to & BRD Pe gaia Se give the maximum a 4 t 5 35 ae , 7 a i < I a * : ay {3 Jo 690 Henry Atterbury Smith, architect: photograph by Wurts Brothers fA Se perenne io ble ORT ¢ 4 2 : ry ‘WlBas [eves feral \ coeds | com == he - Bae : © " 5 — e Ch pss Ve ee number of rooms and families compatible with decency. Its greatest contribution is the “open stair”’ idea, by which all interior public halls are eliminated, and each apartment opens directly on the outer air. SPLENDID EXAMPLE OF EARLY APARTMENT DESIGN Tue large, expensive apartment house is quite a different problem. The Dakota Apartments in New York still remains, after twenty-five years, one of the quietest, most homelike, most distinguished in appearance. Its large windows and some of its THE COURT OF A MODEL TENEMENT Tuts view of the court of the Vanderbilt model tenements shows how courts of adjoining tenements are opened to each other by arches, and perfect ventilation secured, whatever the direction of the wind. It shows, too, the open stairs, one in each corner, protected from rain or snow, but open to the air. From each landing, doors lead directly to each apartment. Such an arrangement prevents all possibility of the existence of such conditions as that shown in No. 688, however careless the janitor. is bE P| \*- = 2s a a ar r i , . - —_ ~ bd J ® i) re easih) ae ~! i at irik a 5 dll otenet tendered ean hnaeiien tadeeeeide ban * Les _ a ey ee P ae Bea — Tie fe ain ae = ee era egy 692 Henry J. Hardenbergh, architect; photograph by Wurts Brothers "Nt s > . . . ° . . ® French detail may seem out of date, and its use of space is less intensive than is required to-day, but its large roof surfaces, its simple dignity of composition, its light and airy court, and its clever blend of pictur- esqueness and formality have a large and sure serenity that bears witness to skillful designing.5 F| ’ « oe ts a 5 a0 %) ft POI Ra eT | ‘¢* ua ea’ ay * J ea $ han ee) eee | he ke pe yh ba) . i be | aes Tl PU PM Ea on felt a Se Br) an od Vat pee Fd i es | | od Be Th ie WE) | PR hy Ved) ee PA i) ; . ir : , f Fi { f are rhe ae y A rer Late se P =e ae Pee DP Se aL Be el Jt Da I) ed at J Ay ba fey i Vo 0 a oe BC PUILOR NW ae Jie ar AFC e peed PS 3 h ‘or Pee UE) he bea Jie we ae ear BC a LCs Jed i Cn BAL Ar oy pena Sy Os a ie PHY The ey peor PSA SP phn gial fp eee , areas Phy RICE ete) ; p x4 f : Ay t i Lae: PMPEUE su BER PORE REE NY Sad be ar rd] « ” CLUBS, APARTMENT HOUSES, AND HOTELS 285 5 ee ee we Beet See eS Py, Net tos tin abort uy A MODERN APARTMENT THE typical large New York apartment house of to-day, built under exaggerated building costs, has ~ LA Me ee > necessarily developed more and more into a many - ERE reo a) windowed box. Often with lavish treatment of the portion near the ground cy AS me See ROO SR ARSON na eRe Pika Bear Ries "9 CAF ee re o *~ * especially the entrance door — and with a cornice at the top, its many windows form a difficult problem to treat. Small cat rs Sle D eos eS SS SP eShe sy Leg ravens Ws Sos = 7 \ ele ey ee alt Sn ne pa wa “ c \ 7, 4 Sah - panes help to break up the glass area, arches give Oe Geeta 3 a et . richness to the base, and bathroom windows break Pre 4 ¥en eA eS Th Se ee . VA =\ eA up the monotony in this Park Avenue apartment (No. 693). But the general result is cubical and uncompromising. TRON aah LO] o- a ERED me RCO 2th aD a ae Pt ¥. i art ages Wie Pe Pee EPS ee a a tid —s ee 5 1 EW at. ae] ae Ved FS cl fd wed Bo -s ek * an 7 =e =" i CLT pAzpAY: led Gf foie Tesh] —_ a. oad EE ad ¥ rns Sar GA) aA J pal ys + ie r fi ri fi fat dd, 3 hai 3 c : heme nia Lt Bi bs ; a (an! joa! md i CP RAPA ew fre Koso, F yf aes fal Soe ies ; ati a cd eR EY ~ Fel ed El red Ute od + '>. e | aay) 2% Sell | Faeroe de o . aes Misys leniae Aiba hae : gat % Ae i. et 7 es fed cE Bape De) | Rie RP) bear kW | RY) ew an ~~ n a se * > mt ar | AY [a | or :2 riot a 4 rast oe | ie a "s :£ ‘8 F SA ‘ oa 4 K Cee > & a ' - . ' ¥ bss * ad Var 5 © oa a " Pare ese Me ee i — Pa % Pal vaal) ga Eapen7' iro . per let “ ae obi dak Frat Sai ey? re eee 694 Charles A. Platt, architect ‘i ee 1 Le) - 5 a 4 J ra ~~ S295 56 $4.30) kd te AN ITALIAN APARTMENT Tue Astor Court apartments in New York (No. 694) have a bold, more Italian treatment, with a daringly erry roe 7 = 5 uJ i projecting cornice of copper, richly ornamented. The ee SS - me detail throughout is of the most carefully studied character, particularly suecessful in its scale, from = the rusticated stone of the base to the rich shadows of the cornice, so that the whole forms one of the most dignified, monumental, colorful, and effective apart- PES Er ment houses we have. eso - A FIFTH AVENUE APARTMENT THE apartment house at 998 Fifth Avenue, New York (No. 695), reveals that neither money nor pains . ° . ry CE Sere Ss UN Ad oa tta) esi te ae: were spared in its construction The attempt é aoe MoKim, Meadand White, architects? photograph : made to give the whole the quiet palatial character De auc | — = nea = ho le ie \ Se "ee a5 Aue Fo 7 tt re eo bs 24° og a PT a Pe, Pe Pd a) ee) te a a el td ad ee ae 4 of the best Fifth Avenue private houses, rather than the usual apartment house character. By using lime- stone for the entire facade, by rich though restrained detail, by an interpretation of Roman palace ideas, and by a composition whose simplicity hides its daring brilliance, the attempt has been brought to success. 4 EY a) Sot aS A oe 7 * SeenCEE LRA ‘. a) a at Pied rele beter e bot tht it) - pa o re L) - ~ oI — « - 286 THE PAGEANT OF AMERICA eee a ue = A TYPICAL CHICAGO APARTMENT Tue North State Street apartment house in Chicago shows the same attempt to emphasize windows and slim vertical piers that appear in aie —_ an: some of the Chicago office buildings. Built of Ye e « . a 7 sage terra cotta, this building has the playful detail that seems so appropriate in that material. The bold projecting bay windows, running the full height of the building, are to be observed. ee ee een Cee CTT Te ee Pe , yi ig ee a aN eh ie | be eet hh eh oer arian aba al Mok hte ieee ide ode) el oll bbe tal tit tht bel ole Tee te 5 - r = ~ “ ~ 4 S i> I . =< =a . dhs we bd Vineet bed ie rd hy o OQ gee sT o fae Oo oat 2 Bite SUBURBAN APARTMENTS In the effort to meet the growing building costs of ke | & re a ‘a * . vy r ie # | 7a a om 3 ie post-war times, a continual simplification of exterior de- tail has been made. The Garden apartments at Jack- son Heights, New York (No. 697), are an example. But con Seti rT: ta chee tat be bal Leto! et he : ara aa ees k no illustration can do justice to the quiet charm of tile | 697 Andrew J. Thomas, architect; photograph by Wurts Brothers copings, variegated brick wall, or even the restfulness to the eye of the regular window spacing. Nor can it show the exceedingly clever planning, by which waste space is eliminated, and every possible inch thrown into useful rooms, or the wide ~ openness that characterizes the whole group. COMPOSITION AND TEXTURE GIVE CHARM AND BEAUTY THE codperative apartment house on Sixty- seventh Street, New York, shows the same simpli- fication applied to a more lavish and expensive scheme, the same dependence on texture, color, and composition rather than on ornament, and the same originality in planning. Here the “back yard”’ is mostly on the street, and full advantage is taken of the opportunity of breaking the front, and bringing shadow and variety into the design. Despite simplicity, there is in the entrance and coping and balcony and tiled chimney abundant “Ss ORS 9 Wee, : Wa] =6charm. Buildings such as this grow old gracefully. PRBS NaS ca) ig ae “et =6The contrast between this apartment house and Pets. . rye / PSI 5 : a 11s lace 698 Walker and Gillette, architects; photograph by John Wallace Gillies the ordinary one near by Is a str cing lesson. a SEEN lal Deen lat Ni tad tenn cite atm tan tet Pat dh Yan lal oh Le eh oe, ich een - 2 Te Naa “~ * - " = ia thn ail. at haimabel be elke EL ekg ar han ened dete badalin Monee od hen Toe ac eee seh em eS ae, le ae t2 oa = : * Se A SS Lote 4 « Bi one * — ~ ae ea a « teaay <- eae Pet ae ‘ oS pore wht pica) ah aieens aoe = . ay * Rett ye Pr CLUBS, APARTMENT HOUSES, AND HOTELS 287 ty He ry SFP oh ert =S ee ewk be ee tae) 7A a) 10 ee a ren oer Ha wisi | sree cat oe Uke ¢| _— ° uo) ¢: maf 4 Ne pote we aed 1) The Fi 0 s ~ pC} Sheree ery eet Loe ast ey bf = ep - ae a , rrt swans oe “Tae eet meg ruame bt Tey, ee “ — = ah y atl ee —— a ea ‘ ; a no ree Sie a at ear Me ERY ASE : » : rar as a fet or, ; a is e g 0. i, Lian £, a F | ae | eee Te rl pee ( i f; Hy t : i AN EARLY CITY HOTEL, NASHVILLE, TENNESSEE SIMILARLY, the Nashville Inn (No. 703) is the typical small city hotel of the eighteen twenties and thirties. The porches remain, Greek revival influence shows in the detail, and the long wings with their many chimneys express the function. The stepped gable ends were developed as an easy way to build a gable in brick; they were at one time exceedingly common in western New York, Ohio, and the 704 Henry J5 Et Agdéabersh aroni tect: a lie y courtesy of Boomer-Dupont Properties, Inc. y oung W est generally : ~ THE WALDORF-ASTORIA, NEW YORK BETWEEN the Nashville Inn (No. 703) or the Astor House, New York (No. 296), and the modern large city hotel, there is a great gulf, bridged by the forces of congestion, growing luxury, the elevator, and steel construction. The Waldorf-Astoria in New York (No. 704) an example of the early modern hotel, and its picturesque mass and Flemish Renaissance detail, though already appearing a little out of fashion, still dominate its portion of Fifth Avenue, and its name still retains something of the glamor it once had as a symbol of all that a Sa at Doel atin tert Ratan Wertal Shsee Saat ons be thee Pa eted ote en Neen Mend en that tae thea eT Tg gp gt Rg SA ah tng ates Q = Po . rh i So ae rr ae . r Se was most luxurious in hotel design. THE HOTEL PLAZA, NEW YORK Tur Plaza, New York, is a later development of similar style ideas, though expressed in French rather than in Flemish Renaissance —— = ‘Ses ot em oe ees bes © Eom Yet pet ees eet bet es es a T=. : ; Le ts c ome ee detail. In the effort to obtain cheerfulness, the walls are of white JI LL brick trimmed with terra cotta —a distinct gain in the modern itt Mt I . - : ry. ° . e ect , ri! much-shadowed city. The many windowed wall, the towering roofs, 3 : the gracious richness of the detail all have the correct hotel character. 705 REG ADSADRY DST Ware oroehene Wiad Noatet ted ta i btiehete rh te hte th ee hae a ee tae tT ae a ak Sed i Ps Sh es ee YE B Tarn Se ee NR a A a ae : a an ie ™ “ 2 . ve ahd at . Fy Reet Ei I>, bet. a S aCLUBS, APARTMENT HOUSES, AND HOTELS 289 HOTEL LA SALLE, CHICAGO It was inevitable that direct French influence should play an important part in hotel design at a time when it was so dominant in other fields as well. The Hotel La Salle, in Chicago (No. 706), is typical of the developed, Americanized version of the strict French tradition. Curved slate mansard, richly decorated dormers, ornamented copper gutters and crestings, and ornamental forms throughout are French, though the height is purely America. onal oe Sei :. ae a 707 McKim, Mead and White, architects; photograph by Wurts Brothers done away with, and sun and air is brought as much as poss! composition, this hotel follows the favorite scheme of a monument an Ionic order — a simple brick shaft, and an enriched top, or capital, of four stories. A CITY HOTEL IN CALIFORNIA Tur Hotel Oakland, Oakland, Cal., is built on a U-shaped plan, possible be- cause of the large size of the lot as com- pared with the necessary number of rooms. Its broad and welcoming court, and the open loggia at the top of the central mass, give it a charm unusual in city hotels. The delicate eclectic Italian detail fits the scheme admirably. ear : | “~ \ 4 © |g es J \ “a ; . ‘ . >? 2a) - . ua \ - < ' . kn pa \ . : \\N . 5 4 a < *. "iy ; a + 4 . ] a its A 7 - r r TE ‘hoa: = T (ie Te TW ie oF am . 1 1s bod Sent Pee US snes ie BENCH Sea ae TI ary obit: Pim 0 tl eeiien , » ae ej qk rs le ae ms . paola 11 3 a" yj r ' PP er ee ee oe _—— oe ‘ _— wy . iw =) ri ee A ireiles mre irt HOTEL PENNSYLVANIA, NEW YORK Amon the large modern city hotels the Hotel Penn- sylvania, New York (No. 707), 1s a most typical example. ‘he division into four wings, whose width is determined by the depth of a room and bath on each side of a corridor, allows practically all the rooms to become outside rooms; interior courts are ble into the center of the building. In exterjor al basement — here decorated with Bliss and Faville, architects; photograph by Gabriel Moulin 7’ EEE 4 Pie at altoid a { nes ie or} ete top hater ty inate ese Oey Ne ere Bar a a S52 Be Peer ae ey ECR PSUS rd testa er ph kot ST Ie RN et) iL > 7 FE Ce Uy ae ye eee eee Sperry s. etom tts te hee Peete ae - e St +e te eee I TR AL wR ete oe Pen] tae ee ¢ x =) a . :2 ew ed baer | Lo ed | fe! i an ue ay) a 2 a at ‘i 7 a ni poet ee ed Ms Prey rt Be 35 5 = * J 4S 8 PEON IS Poe th ee ie th be? - + ey Pe eet erry Te D8 ee ee PCy el Pa fey ey Pe BOG Fi e - ec Net CURSE Fe aoe Gey pag le et Pe 3 70 ~ sae F Sec Bios le iy Bali Cie ee aah eh Hw ey So _- aad ee ie eee ee : on ae es om Pe rt eI IY, OP eek Cat thj \& \ eae eee td ~ foal - 290 THE PAGEANT OF AMERICA tet ist ar atin bat Cat ht THE HOTEL ASTOR BALLROOM In the early part of the nine- teenth century, hotel public room interiors went through a process of continually increasing richness and complexity. Each hotel tried to outdo the next in 7. faeces et” mT si eae“ hem luxury —and luxury wasreckoned in terms of gilding and broken surfaces. The ballroom of the Hotel Astor, New York, repre- sents the type of room which bate nat hel reali rote a bd bettie hes bbe el blade fea bebe Dod ad ed oe Sole such a development produced. Despite strangeness and occa- sional incoherence of detail, the Ce eh eee cesar eimai don Vinee hhh, lc age! pe i ole re ‘of ie CRs Z wit uD ee - : -T u eS . i * . an Se oe cio eet) §6effect is undeniably rich and and pane. i : sa 709 Clinton and Russell, architects; © 1910 Swetland Publishing Co. rather heavily festive. ne ee | beret el ae h TT -— —-- ~ NT an | c etoile heel A MODERN HOTEL IN ST. LOUIS OnE example of a general type that is rapidly be- coming the standard modern city hotel is the Hotel Statler in St. Louis (No. 710). This standardization | has resulted largely from the formation of “chain” O ‘ Tha es note companies, which build and run hotels in many | ss i ; Ne aS Kd Lag sl oe bis lites | Te i Lay eran ae it as rs large cities, and which strive for a distinct similarity, both in plan and detail, in all the hotels under their ownership. A dignified and restrained Italian classic, 7 e i} » , ) ee 3 ry . e ‘ i - - a ti pe or fe § iS al gt with occasional Georgian influences, distinguishes the Statler hotels. ot re Oya ia Jig} I at ; a ore, ‘ LE EI a Lue ; eh ’ a lad Cicer As vas Hee VELEL a . i a = ee if. 7 yt a on F, ae MU eR pay bs fl ie a ae he ip oi r| Ce; i} J fess a fe. z: ise a hae ey . ae ae ae « Gi = 5 i iS ie if H eur E H y By - wie wtit, | ae 5 os ‘wath he prs a SMG ys Re fot fg Ty eee : e tei oe rar ra € oe ee wet “ Hae ” We? 7 Mors os * ie a0 : or a f 7 aN bis eae He sa oe . Ay * bi “i raha . o f ou aoe ars , ‘ 7. BT" ' Est y r ‘ ae ar ¥ oo bal mat | a ? et ‘a Ae iy - ae D ty oe al b a se e ° S - « ~ 4 ay ye a Eaal At "I — Ab = ae 710_ George B. Post and Sons, architects; Mauran, Russell and i + Me) Crowell, associated. Photograph by Henry Fuermann and Sons 1S { a, PN 7 i aN S NVC ‘ “TN XN : ie i pemeel lom THE BALLROOM, HOTEL STATLER, a ; ot | tt ST. LOUIS ie Et 1} yy ft Wirutn the last fifteen years there has been a reaction " = * es ] 1 against the overweighted richness that marked the Ke f f a older hotels. Simpler, more classic detail is favored, ah A with ornament carefully restrained. The ballroom if E ete ; eae ie 4 AY of the Hotel Statler in St. Louis (No. 711), with its He Wh Corinthian piers, its vaulted ceiling, its simple classic y. , 4 * . . : . if i. > and delicate ornament, is typical of the best newer f ; a . . . 7 co “ae SEES work, and by its restraint loses neither richness nor He 711 George B. Post and Sons, architects: Mauran. R 1 1 : ae oe Crowell, associated. Photograph by Henry Fuermann and Sons festal quality. ” Tt « ny = Wd Poet Dice - . 5 eahe ota | CLUBS, APARTMENT HOUSES, AND HOTELS 291 | — ———————————— ; - ’ 4 1 ' } in an “| FT A A 4 t | : a + | } rte ca Sa" ove a a> +a + avi ag he T" RH +1} 1} t+ er ne } ~ ny az} 7 4 ao A - | 3 | tr ie fe 3 ee rn $1 By . ’ | evry aa - so Lad i | mT om = $20 & EG | } ta 7 ay Mm LY i b - | bal 2 . = te | ~ ~ 6 @ E — tH m no a ed 7 iy f ot : Il md shay! : an es bea > 83) nh t ff [7 (t a, é ~~! | nee oA aka tee ee ae | t od ry ~— i — i (T + : aa : L)4 { ; 2 F be | | eed td ES | OU HH RE) i 7} . 7 : | 5 Se my + Ata, z } SS 3 a 1 we ae 4 > fared 1 ' : - oe : | cs ‘ 2K. aanieaet Wie ra a ee ee pee Kirt ed 1 712 Warren and Wetmore, architects; photograph by James Suydam A WESTCHESTER COUNTY COUNTRY CLUB Country hotels received all too little architectural attention in the past. But in the wealthier resorts and suburbs there is now growing up a class of carefully built, carefully designed, lavishly appointed hotels to cater to the wealthy. The Westchester-Biltmore Country Club at Rye, N. Y., attempts to combine the functions both of club and hotel, and architecturally to soften its many storied mass into congruity with its country surroundings. Italian detail is used to give an Itahan villa air. | ~ A COLORADO HOTEL More successful, because simpler and less forced, is the Broadmoor Hotel at Colorado Springs. Its simple tile roofs, its bel- vedere, its low flanking wings, and its lake-side terrace, all seem to have 1 ae hg Hh ft M4 ‘ BA =) ‘ rr A | b~ } | oy ma Hi, 1h ai ea * 5 ’ just the correct touch of rather sophisticated sim- plicity. ea) yi . r A LOW AND RAMBLING NEW JERSEY COUNTRY CLUB A country club in an informal type of colonial is the Somerset Hills Country Club at Bernardsville, N. of Picturesqueness of low and rambling mass, the welcome of large chimneys and capacious porches, and the charm of texture of painted brick, combine to give the delightfully sociable, comfortable, and informal beauty a country club should have. 0 ’ , . 4 P . eo My hr Se te ta iy Fe) i Oe Mires DOPE eden erie SEER 3 3 Pent : — if ty prea Jal eae To PP? ry ’ cry : we wie Pa read Lae Paras. Aes Paya + pees Doan Ban Gey Nae teneen ae Se eee | vind CT OR Dee epee I Care RT ERES Che omurtey 1) oad - : tf ot LG aoe Petrie tr NON tn yah ret a ? s 3 he be aT Pee Lone od a 7, a od ad aad eave Cats eri ~ - ape te aan Ltt) PES VoL) we ee) Té bh Si yie Se SI eRe ae Sede PN PU Te hy Ptr at 7 pes bs ~~ er ea c Py ar oe ee . _ i . ZI i a ) 8, 8 ba | A x :2 ae Oi om Ty fe ee 4 Chdt oe De ld Pe Lie Sh PEL AL te ee ee eed ed Coat ee Pa Tp ra wa Pa Po FEVER V iv sete Pott ie ie Ph abe 2 Te Oo CP ae fn yt J ou 4 =* x “ ¥ + ike PSL ee oy Fooc ee 236 I) te oe oS Se en mT) oP ee Te Pe ts ee ek eo) a ee 2% on SIT yo 2 yi > = ~_ = * a {is aa BY EV LbURC ems Pop evesecavnn rae Pe ee Prye tee eRe oat -bs eet aul er ete baton tc © A ee tee a Lee be 5 5 en re ee OL ee eee ety ss Ra Doe pote nie ‘ on za fete het ernie bei oll bho the beh ee el biel Tr tol al alee Te ta" “ ~ Te br yk ee Oe Te mye se . —e - i an a) fy 1a Pepi ay i ry 2 Re ri t | ae | Ug iP q * ae ue B] an a: te Fe fu hy ae 8 i , ae eee ae a 4 a Pe an Sup oo ar ey ae -—™ Oe ae ets - ke a aT a ti it ong ee nae el aed be a PAT we, abe Li carb rag a ‘ 25 a 4 re ARs Ak A ~ pene the bide bet er hed he a Ty . = ig * + ae Lat a Ne ey a rs oy ee nee te ee ot oP oe 2 ein ee Aa Oo OE Sa sierece 3 ; es P ar Sa a 292 A HOMELIKE COLLEGE FRATERNITY HOUSE Tur Delta Upsilon Fraternity House, Amherst College, Mass., has a livable, quiet simplicity to express its residential function, the dignity of white Ionic pilasters, large chimneys, and an elaborated door to give it club character, and all the charm of a modified colonial detail, simply treated, to bring it in harmony with the old traditions of the college and the atmosphere of the New England town. set hl i=) = a VX an ae _ ‘7 * Al - - sa FA e —— es tes = r= ee THE PAGEANT OF AMERICA ’ rc) S A j APS Le Ag fj : ~* 3 bes Fi ths if 21. PyT-s ~\ G ’ , 4 y 7 ‘ x» “al y é i £ \wad 4 , 1 ’ * , wy - s a + é ae Fa on “= ae Oe . a toe ae = ey LS, Se ey Se ta ts I ei eit Loe Xx = a ae tx F > ae P a ne a) ae Ls . “ ee m A re Putnam and Cox, architects THE BALTIMORE Y.M.C. A. Tue buildings of Young Men’s Christian Association and Young Women’s Christian Association through- out the country are similar combinations of resi- dential and club. buildings, but an extreme rigidity and uniformity of program has produced, frequently, a rather dull and mechanical whole. The Baltimore Young Men’s Christian Association building (No.716), with its free adaptation of Italian motifs, and its attractively varied window spacing, escapes this too common spiritlessness and achieves a dignified and simple formality. THE ALLERTON HOUSE LOUNGE Tuer lounge of the original Allerton House in New York (No. 717) is the center of the club life of this building. Its rich Jacobean wainscoting, its large fireplaces, its inviting furniture, its charm of color and texture, all combine to produce the right atmosphere of solid masculine comfort and informal sociability.ae as PErSebaS SS beet bea hod Ll) aD ey — PELE EERE SUERTE PRUB ESE REESE oer rrr trie tT be tip bab kv tar CLUBS, APARTMENT HOUSES, AND HOTELS 293 err ~ THE UNIVERSITY CLUB, NEW YORK By the use of a dignified Italian Renaissance without “orders,” in the New York University Club (No. 718), an almost perfect balance is achieved between the academic and the personal, without loss of proportion or harmony. In perfection of space composition, dignity of conception, and careful detail, this building is a model, and before its fine facade criticism of its academic style falls silent. See Pe mr Cetera r at) eo PRT ak “ ‘= itoeta} a ri Lunia OOP EN ES S SS ee ee PE Pr tee Pte ee te tN ree - vey 6 a \ es EOE by Wurts Brothers ry =“ £ at ‘ | | 718 McKim, Mead and White, architects; photograph LT NEW YORK FRATERNITY CLUBS BUILDING In New York, Chicago, and some other large cities, wes 3; — Ris ahs OME PES a0 Poe Uu Te ee ay ee Oe Dee ee a 5 a “9 ¥ Ad rR * ps there has grown up a class of buildings, typified by the Allerton Houses, which combine small and com- [nay paratively inexpensive bedrooms with some of the communal advantages of a club. The New York Fraternity Clubs Building (No. 719), an Allerton House for men, not only has, despite its size, a marked -~ — Ld 3 ~ ens rw ee ee ee oe a Alenka ROR Moray noes va — i Ee es charm of homelike attractiveness, but it is also one i+. et . Lip Sh ON nr of the most daring and successful results of the height- “i — * watt. ae . ~ Ve a ' e of = A’ : A oi We - 7 raat Ver Bee “ee 2 aoe ~ A peat . ; P . a Hy : Cer . ; reef viet Yur tts : y ile Zhi , 4 ~~ 719 Murgatroyd and Ogden, architects; photograph by its octagonal corner pavilions, its Crowning loggia, Wurts Brothers : of-buildings regulation. Its picturesque silhouette, Peet ry eet at Pol ey dl uJ ae all make it a contribution to city architecture. eo = A CHICAGO Ry WOMEN’S CLUB | Tue Eleanor Club, Chicago, is a similar type of building, i ’ a Ope ed Ih te ou se oS Pe ee ee ee ee hd in a less congested position, for women. Its solid, com- tere 8 fortable wall surfaces and its restrained Georgian detail serve to mitigate the insti- tutional quality which so frequently spoils the wel- 524% 5 Pa e - s ry . 73a PG , a ee - epee ee A ea : come appeal of such build- HME i, : e : ry. > \ > ~\ a! : on ae M oat ae i , ; My -: Sas Wes mers 4 s ings. The Eleanor Club 1s Resp os Seer D) ERIIIONO SI pre ‘ fees a : ; obviously first and foremost \gaifitGt So MRS oe ee —— E a — , ignifi a pelea F ae Kerpremmemn wer rn 7 SAT a home — dignified, unas- _ |ssessie RTA WTR mice ene ; suming, simple. Paka Uae te 720 Richard E. Schmidt, Garden and Martin, architects aa Oe SI P5 te ee yas anette oe ee oe ee Pakalasencalnge hes 2s S sea” “7! Pd é Mod Bt Hs Ss De e - a 294 THE PAGEANT OF AMERICA a tp ; . Sd ed ey. ; T y oO y r Siegel est tne Se A UNIVERSITY CLUB LIBRARY, oF PS = er © Wy ote % T T rr - ne NEW YORK fo A SKILLFUL blend of the rich splendor of a past style A , * * ° x Mi and an atmosphere of livable personality are achieved F . . wee ° ~ 5 . . . =e in some of the University Club’s interiors, especially ie that of the library (No. 721). Here painted, vaulted ae ceilings have a restrained richness of color that is the ry niga . : > : i perfect symbol of that schooled richness of mind a r : % i library ought to represent. If ever the use of the ie beauty of Italian Renaissance decoration is justified, He surely it is in an interior of this sort; not only does f. the style lend itself to adaptations of a rich and sober Fie as ; ; f v ie 7 ee beauty, but also the very nature of the room suggests xe i eyes Pe 2 a treatment redolent with the flavor of a storied past. oe am | nD CT AS LE alte) et ie 1) Ta Bb ss oe i fe ti £ tp ie ese gee hy ee rpg? ies gx tn rr v< f Ec 721 McKim, Mead and White, architects; © Architectural vei Book Publishing Company Poy 4s: ie a ey mae a = er ] fa tf pe i ae | A ae ag ee . igs ee th ae, i I ¢) ‘ ae ; ] i A a b: y “ = i INTERIOR, HARVARD CLUB z t * r ie Tuer lounge of the Harvard Club in New York ee Sls : ie (No. 722) is characterized by atmosphere equally a expressive. In this ample room, with its unusual ie ; : . . ite height, its walls simply treated with wood wainscot, tap ° * : “7° fi stone masonry above, and its dark beamed ceiling, it pS , st life seems to flow with a more sociable rhythm, and I; : ' the light coming through the high mullioned windows ee gives an additional magic. ra : he r i THE COLONY CLUB, NEW YORK 7 ae * * » T - Tue former building of the Colony Club (No. 723) ie has a colonial facade so full of character that it e sheds a spirit of gracious refinement in contrast to ( Rs 3 the usual harsh city rectangularity. Wall texture 1s F oF es emphasized by laying all the brick with only the ee ZL ay) a = ; —— rv v = ; a < io ai ea e oot eae ends exposed, and the white colonnade adds just the ree 723 McKim, Mead and White, architects; photograph b : . , - uraloe »< Jelic r & WLITTaNS EO tHGrc teenie tne ee right touch of welcome and delicacy. 4) = oe Me rae . ~ he Baie Le . > = © 4 aisEs : vara Pen SEA PTI Pe LCP Oe pe de PAY IAT ET per ed aL BAS 1) oy LL A ear rife kan IO i a DD ad Ot z pe ket ! BPE AP A we ry kL ET ae BX See pe PA Py it DSL | CPt i jy by Vite te et aes yaa) ar oe % na F} ’ fl F F ia er | Di iat Jeu a 1a eppyey rh Chef 34 J a es j fi ke pat te, er Y EAP He, ee ey Pies gag ee ae rg ‘ a a iO Ly oe deat | i ) | o y F ‘ $i Be oe | 5 yet - dt att ' ' Oe peck APTS CS ll ome ane nes a a eS 7 SE ei taect toe bork hi ry = ] CLUBS, APARTMENT HOUSES, AND HOTELS 295 or | Eire ip LRT aad Beer MON TAPaTdt Te MR BD a CALL Ge? Ne aan ee : x ~e eh hn Va aes vy ‘ 4 eet) tj es 2 sw | adage alo d Ba ie Sag Oa e Me hs 0h dd od : ite iok se a ieee LS dicey, ae Ra My Seay e. 4 | | A MASONIC TEMPLE; WASHINGTON By far the greatest monument of American Ma- sonry is the Temple of the Scottish Rite at Wash- ington, D. C. (No. 724). Based on the Greek anal antae ri eer tne ton hos k feb bie Re er tort =O Seb iron tt Mausoleum, adapted with perfect grasp of composi- rm tion and detail, its great square base, its magnificent approach steps, its perfectly proportioned colonnade, and its stepped pyramidal top, form a whole of monumental effect, of true and simple grandeur that is unforgettable. Cy OShis Re bar pea bate BOS ee a Ea rs pa 4 a. peer Oe Te + eh ed : ? ay eat ae BA a 4 é ao Tie Cert e as wanes SeUreNe yt Creer ttl i A AOA rotate DZ VAVADSXDS a : 5 7) oe : i) ae s oe | » wf s at | a4 it) 4 bat | ® i] rf x hs and inset ornament, that give it a magnificence that has in it something more Roman than Greek. ‘ ee Ped pao —* ye 725 John Russell Pope, architect: photograph by John Wallace Gillies aed ~ 3 ie Pe tot te IB oo se 5 o P ox - A abd ah : a : + phy bs aap hr i _ 0 rors p> a : Se ~ — : " : es sac rar: ee. be dR Ns A 5 en VO Ay ee : p ’ ta Ciakeest > serainrg tery non n etd ss ni Seer OP ee Fe Lol TS ee ye ee Peed a tiie oh ee en yy epee ie ines £2 are <4 726 Richard E. Schmidt, Garden and Martin, architects 5 st * Mola Tel Te A TYPICAL MODERN HOSPITAL Tue Illinois Central Hospital in Chicago, IIl., is typical of the ward type of hospital plan. Bed spacing In the wards determines a regular window spacing; solaria or sun porches are placed at the ends of the wings. ioe let a . a ee = 7 ih ee Dig ee teh era Pt me 4 f pe "” a Sala 296 THE PAGEANT OF AMERICA Pitet wok ber eto ETT TOr A WELL PLANNED NEW YORK HOSPITAL THe Fitth Avenue Hospital in New York is one of the first of the hospitals without wards—a sort of medical hotel. Its X-shaped plan is beautifully devised so as to let the sun into the (11| SHER a A Ree x - I my i og Nee $e 2 OE & gt/ eee; «sits creamy stucco walls and its quiet Yee ete “* greatest possible number of rooms: and the treatment of the whole, with stone trim, is restrained and distin- oats bd delta eS e=wrtyin Te bata Ue i “ve beheld Neat So bleak dle al bel Schbeae Sdaiad ry - . oa * a 2 he er A YF ri ae et <4 x ' - A . guished. boreal ioe bad Vie Whale cal ies i tte Cree et ee et Hah A . ton See aC . S ay ‘an ae i yan se r ao . ™ : 5 eu r , a ve Ty ee : eee ae RIAA BRC 728 Zantzinger, Borie and Rredary architects; eROteranI by John Wallace cant ea Mess a | A “HOME” IN THE COLLEGIATE MANNER cep | Tur “Home” lends itself easily to a somewhat collegiate expression, for its | elements — dormitory rooms and central dining and social halls — are similar. 2 ) | Such a collegiate expression has been given to the Grand Lodge Masonic Home ls a | at Elizabethtown, Pa. (No. 728). With its gables, its chimneys, its mullioned | windows, and the great hall bay, it forms an exceedingly picturesque whole, = oj oat ~~ M4 ie | x 5 es ; pas Oe ig es ie i] a i a a i‘? w 2. b; 4 7g ie Uh ‘Yee a. % ae ei a ; pet ie = fxs: | ae 4 ny a y H ty Gite ! : F yi Pe ai § nae, | and avoids the harsh institutional character that so frequently disfigures 4 i ~ Homes” and contradicts their name. a - - eS ee tel Nach Sod en Neth on et Rectal oe Dt Nite ned eh en hen PN am +a ee Na ‘ 5 Ps art de SS Cg —— & an +525 he Se ee eee oe PRE? yar er ee. Ss ATTRA Cera a a wl Ce = 729 Whitehouse and Price, architects A SETTLEMENT WITHOUT SEMBLANCE OF INSTITUTIONALISM Tue Hutton Settlement at Spokane, Wash., avoids this deadly institutionalism even more successfully. Indeed it is perhaps the most outstanding example in the country of the true welcoming spirit, the true “‘livability that such a building should have. It is picturesque, restrained, and gracious. bo Rah Neen eel ie Daal Din Dacha Decal Mi loee eld wee eee Peet Rae ei sary, commercially, to seat as many people as possible within a constricted area. Con- sequently the steeply sloping, deep balcony began to replace the horseshoe gallery. The change gave better seating to more people and the introduction of great cantilever trusses and deep girders obviated the necessity of the posts which had been so objec- tionable. Moreover, the new balcony altered the whole type of the interior. The older theaters had, in the developed horseshoe plan, an interior full of subtle . re ITs, curves, whose relationship became often the controlling element in the design. Domical iy | 8 es 1 - a Panels Lf a rea ep res | | Ee BA Lt “4 | in Bf + bs . oe as GRE ceiling forms seemed a natural result, a logical expression of the curved plan. But the new scheme, essentially an American invention, fitted perfectly well into a rectangular room. It developed width, instead of length. Even when, as is usually the case, the gallery front is curved, that curve can have little relation to the triangular wall shapes made by the sloping gallery, or to the ceiling above. The result has been forms exceed- ingly difficult to bring into any artistic harmony. Constriction of space, moreover, has prevented any outstanding stage developments. The average modern stage, lacking storage space and working room, is inadequate for the development of a repertory theater. The sets for one play fill it to overflowing. Nor has the usual theater space for an apron. This universal adjunct to many earlier theaters has become smaller and smaller, necessarily, until it has, for all practical purposes, disappeared. The theater interior has, therefore, both by reason of the wide deep gallery, and the omission of the apron, become more and more a proscenium arch, featured as a decora- tive frame for a play, and nothing else. A greater simplicity of wall and ceiling treatment has distinguished the later theaters. Ornament is concentrated on the proscenium arch 297 Tecer Peas 5ey2 S52 Se eee weds "le t@ ow A So me wt DS Pee ere) ery Te ee ee A Cl ty Pe) Pt ey a te" eee a x st - x - a ra Ps - Tae) ed hl hae os $f Oe SoA ae yee Ta vie PG ms " SF. + <7" & J had Ahab ati ha dt hal het het ta tht ed tt Bota be asain Dacha th endl Deen dain lon wo de on So eco aca deel toon ana eee Pine teen tet ee ET et pb, Sy AR ok a es 2555 2525 Sate te Le A eta at gy Sy TAL ah ty ohh, aie ha 5 My a ; iS a ty LPS, ee a ae <9 > oy aad . se Se AP ae sa S Ces oie a ~ Vic . : - pe Aad Oh Ga st Sy es 5 t Ge ba} = rs ~ = Pie it alae es let Dich edt Meee te sob beds) ber ete aU aT phe < real t oc te i Re b - Ke PAR LY | . x *. = ~ as Ct es mee ed theta ek eked Cate) hs Ed | tae hate Sa hat rerio a i a 8 Prac as 7 or a DT ry a paw Las eRe Seri eee at nl ‘i Si BO OE cia Prarie at a (alate ith ie Mie Se li Ri ria a ld a tebe Te ae eee Seen er tere t ts = % - 2 4 a ‘at i K--gir te . a“ Pay, ee ts « > * . a Walia Ce & - en) S - ph * 4, oo a a f r al A “ « a nd to a . iE ne +f He a - S 2. 5 eer a Sm — ~ - a Se ae 5 FA a ae o a a 298 THE PAGEANT OF AMERICA and its surroundings; side boxes, where they occur, are usually mere decorative adjuncts: treatment of the rest is suppressed. Additional interest is often given the proscenium arch area, particularly in large theaters, by another factor of recent development, the study of acoustics. This has resulted, first, in the careful choice of interior materials so as to absorb sound and pre- vent echoes; and second, in the development of certain curved surfaces above and around the stage proscenium which serve almost as sounding boards. ‘These frequently take the form of pendentives at the upper corners of the proscenium arch, and offer admirable spaces for paintings, panelings, or other enrichment, and serve to soften the contrast between the stage and the auditorium. In the smaller, more intimate theaters, however, the rectangular shape is supreme. Style, in theater design, has kept close to popular fashions. ‘There is a fantastic quality, an imaginative freedom, suitable to a theater, which is both an opportunity and a snare; an opportunity for emotionally significant decoration; a snare for the facile followers of the moment, for clever draftsmen who stretch miles of badly designed acan- thus leaves across gilded plaster on wire lath and think they have achieved richness. Indeed, there has been in American theater design an appallingly small number of at- tempts to express the underlying and controlling nature of the structural forms in any sincere and effective manner. The simplest solutions, in which the auditorium is a mere room, perhaps with paneled walls and a flat ceiling decorated with low relief, while the proscenium arch is featured, seem the best. In them, at least, the theater expresses one of its functions. They are quiet and adequate frames for plays of a certain type. But the theater is more than a frame for a play; it is also a Festhalle, the great place of popular relaxation and enjoyment. Whatever the play, the theater is a place of gladness. The average American, despite critics and dramatists, going to the theater as to a party, craves color, richness, luxury. The best moving-picture theaters have fulfilled this function. Several variations are noteworthy. ‘The proscenium arch is scarcely needed. A static screen, generally small, is, itself, the frame for the action. Nor is there need for close proximity to the stage, and these theaters have become longer, narrower. The proscenium arch, when not suppressed, 1s elaborated into a rich archi- tectural motif, frame within frame, arches, columns, vaults. An extra stage accommo- dating an orchestra often precedes the arch proper. The whole is made gorgeous with colored lights and painting. In the “movie house,” the American Festhalle, richness, luxury, gayety are everywhere; playfulness in style, too; Adam, Roman, Greek. A Egyptian, perhaps — anything with a light touch may little pompous archeology give the right note, a touch sure, gay but not frivolous. Not frivolous, lest the infinite influence on future architectural taste be jeopardized. Obviously the taste of millions of weekly movie enthusiasts in a relaxed and suggestible mood will be influenced by tawdriness, frivolity, garish color or by well designed rich- ness, playful gayety, beautiful color and genuinely human humor with perhaps a touch of satire. If the composition shame the slipshod formlessness of the average picture it is supposed to enshrine — as it often does — then some sense of what architecture 1s, and may be, will develop surely in thousands now ignorant of it."i - , -’ MJ eed PPL Ws 424} pear 7, oe id hee Pr. a ee ‘“ ’ roa) nl hee Bf. _! f ; eat SHEP pop alee ORL sari Eee SC GR | co Sl Pu [eke aor Food DP et Bid ER ped Bd ed bes Lok toe, Fc ea f wise ; ae oy Perr ae ; pb AS ee mR Pie RESIS ie Bee eb Peas DY 2 As LAN A ot 1 eee PA Ah Tha See LPN AE TIT DPR he Age ange sla bh Vat TEN a PU : , red ar) ey C2, aya oe Y rt Te a pia nye CAS €. U : i {eee a ie pk J Yop Sider fore fh ard ree) aCe ep ie ge ee oe ig i ! paw haa Oban wie ~ - iin . ve THEATERS 299 <4: oe wile AW Cae ee yy Alon tikes dase Pe - ahr er . SEP yee SRB CPeScs ocr Peatep etek Colette rt ack nooo te Sram baer ter aes ceed ro “es hen LS ed PUP eRe ROR ty hs re] EARLY VIEWS OF THEATER EXTERIORS Two early views show the development of the typical theater exterior. The first, of the Haymarket Theater in Boston (No. 730) built in 1798, shows a simple, hip-roofed barn, differentiated from the houses beside it = Pj ei a << — —— | only by its height. The eh second, of the New Theater in Philadel- phia (No. 731), shows a step in advance. Dis- er as 5 ee ge ae ee ys a ke Pee ee te ee tinct architectural dig- . | nity appears in the great ae I a Bolyisl i 3 q se Yee «= pediment, and in the Ra ied tan ee ss ke wall below, with the \ a central Palladian win- cy oo dow, but the entrances are mean and hidden by a rough wooden shed — . = PS Oo i I eA) marquee — and the character of the whole is ea scarcely different from © 4 sa eet Sel Hg : x) oe PRO si pe Po pt eat Pete ety ee eh a Le cat Ae ad = : us ! STEEN OB Wee ne ie that of any large public 731 New Theater, Chestnut Street, Philadelphia, B. H. Latrobe, architect; from an engraving, 1800, building of the time. by William Birch & Son wei ( ~ ee : Pt ys - WALNUT STREET THEATER, PHILADELPHIA WitnH the Walnut Street Theater in Philadelphia, Pris pees , Cal i ae Ota 5 “- =m! my wh) (eae 4 Pee ee eo) eh) oe a all the elements of theater exterior design have been = ase discovered and_ devel- Frontieeh enn “abele oped. An accented en- 2 . AAS ps ' ] cokes sh Ya i" B, ‘ee | , 4 a a" a er 5 _— . s Orla) S2e eg . , > > Prete epee Th trance, wide and spacious, is decorated with Greek “Fe io ? Doric columns. Above, a row of large, highly o decorated windows under ae <4 Crt hat arched heads expresses . * both the spacious hall a - pian fh Ps 2a 1 2 te) within, and helps to give Sean ne ie vel ~~ a ooh ~ ee fale l 2. Wr > - ad Lmeotgee the festal feeling a thea- St Ts pe aR sae are at saat 732 From an engraving by Fenner, Sears & Co., London, 1831 rts ter should have. Sq NEE doe a4 vt Pe Lt a é v4 _ he\% eg Ok Lt ee. ae = 300 THE PAGEANT OF AMERICA PY Les sia — a -* CHESTNUT STREET THEATER, PHILADELPHIA Tue Chestnut Street Theater in Philadelphia carries the i functional expression of the Ff theater one step farther. The i entrances are arched, en- larged, made more inviting. An open loggia above gives lightness with dignity. End bays haveniches with statues; and the origins of the “gay white way” can be seen in the row of lamps that flank the entrances. lath el Abe Me et Lhd tT hh en Pee ET a P . - ee Ea 5 ns a tie heated ak WL i _ ote 5 AK Pi ; eet ah) Se Detar hat rian aed apie i ie tbh) th hae) lead te 0) pare Dah late ee Le « to.’ S .- Se Sr aw fs SP Pm tet te +. * Ht ae Pj \ Sh Seether eel heh D INTERIOR, CHATHAM THEATER, NEW YORK Tuts drawing of the interior of the Chatham Theater, New York, in 1825 shows the early interior arrangements. It shows, too, how as iach ae E badly arranged horseshoe galleries really are for seeing, as the ha- bitué of Parisian theaters knows [ie AG Les ii —and it shows detail that must * SSR | ae ae have been crude and strange at His | | best. But the richly decorated ceiling and the proscenium arch are elements that long remained universal. It is to be noted that eet eee > ane reno 734 From the original drawing by A. J. Davis; in the Emmet Collection of the New York there are no proscenium boxes. PRs - 4 ene a ’ te | a tt La oer 1 ae Pf +e ie i: #3 oe j ea ic ie i? oar o tie =. ae a 4 ie ae | hee } Het ! re a Es ie a4e Xn ie ba fe a v ;: a r oe et z t oa rad Y rp if 7 i i is iI fi i 4 te iJ Ae \ | ~ OLD BOOTH THEATER, NEW YORK THE typical theater of the ‘sixties has lost its functional type. Booth’s Theater, in New York, has on its front so much of the characteristic, heavy-handed, pseudo-classic ornament of its time. and it is so villainously capped by its “French”? mansard, that composition has been forgotten, and ex- pressiveness and beauty have disappeared. It might be courthouse or town hall or post office or even a private house, so universal had grown the use of the caricatured forms of this Victorian classic — a style even more hopelessly ugly than the Victorian Gothic. Sr a aa f’ et tla rt ia bh irate hot le teh ted ao Be ae ee A x 5 - a aeTHEATERS Pes es hy, —>A | ao \ >, ‘Ss ent Nb. fee Sh ew ree | > 3 A ee Loy + ‘m arn g aa ¥ eae nat Es ve" « - ry ie 3 aaa se ‘ ’ Hal + athe [ry Pf coy 4 a Bes i ett = tS =, — i — POLI A: eh em ee hea k SY Ana oka 736 Herts and Tallant, architects; photograph Dy Wurts Brothers « Pa . A ee ye ae i oF oe ye led Bu ve ix 4 ee Haty - . P : : tee, ~ ‘ * = 4 Lee 3 a ramen ad 8 i ee aa 7 we a a2) 5 ae os Av StL ens Sy ork,” wayne rr rt yh < ~ a — a a | ] | i | 1}; I}| Wii WE | \} ANT | : 6 sitet Wik ay dthd Sitbeees 737 Herts and Tallant, architects; photograph by Wurts Brothers CONCERT HALL, BROOKLYN ACADEMY OF MUSIC THE growing spaciousness of theaters and halls has led to ever increasing care of acoustics, resulting in the adoption in large These offer remarkable opportunity to the architect; and the interior of the concert hall in the Brooklyn Academy of Music (No. 737) shows how beautifully such forms may be treated. halls of circular, conical, and pendentive forms. NEW AMSTERDAM THEATER, NEW YORK Tur abandonment of the horseshoe gallery in favor of the gallery stretching from side to side has made necessary the development of the proscenium boxes. These are often com- bined with the proscenium arch into one composition. In the New Amsterdam Theater, New York, the curving forms neces- sary in a large theater are treated in a manner delightfully playful, free, and original. os = oe Pea ETI ee PATI e TPO Sor ket iy Pike Pari Cee PII De pee ee ee Dep Dy PT Aes PED G Pipe sis ea, TAY jp ai OA De ALK ey) ot pets) Lom bay Ce Soe bbe diy Jer goat Le APS PARAS a fH 3 04 rei'9 ELI gL LW Pte A Te IA glider ray te foal Fe eS eR ae mae oe Te re Oe a x F 301 ~~~ = g tae tk 2 re 4 ck = > Zs, “oes Fe “2 es oar = oe : f Satis ws er) LO ae ie ACADEMY OF MUSIC, BROOKLYN Ture modern theater has returned to its earlier functional expressiveness. In the Brooklyn Academy of Music (No. 736) its simple composition and plain wall give dignity, and the festal quality is gained by the use of much color in the terra cotta trim. The big windows light a spacious One regrets that this is a one-fronted building; but the front upper floor foyer. itself is finely proportioned, dignified, gay. — ar . Ce ae =e tl ashe n ev am hi _ J ee eee ae PLA o eee 72 pa De od Gd he -s Cee te ee ig ee ae 2 lo a at Sa ~ eS SAKA EN yee ne tame bs te ir A tet mrtr oh rocks err — Keb ter es 7 bere Ltd PRRESEEFE Peo tn) Stor oe) RES Se pee ae Ayes. Ey Fo) ry mye Ty TAA eis be ttl tat cr rk ras mS Pe Tere —— ih. PUTIN be TRO e Ts or) poe ‘ ~ RSet ie Ie. a eee eT ae _ it ys So Pica oe va | Lh 2 | E 5 a Pr} zi A i a x 4 d a fonet ae a Rat Lee 751 “a be A oa So tas i 4 F y eS 3 S72 SE on Pt ee ed te a fs) ~ TP - ab - 1 ‘ a Ud she GA TINS ee ee 0 PE ee eo ee I ee aS OG Fe x Pe a ee ee te ee ee ek ee a od ar ee ™ ae) Se * ae rye 2 ea .\ ek) ae - THE PAGEANT OF AMERICA Nieb el hr tian boo erm yA. - 7 lta A - nm Py oa Pos THE BOSTON OPERA HOUSE Tue Boston Opera House, con- structed in heavy English style of brick and stone, is one of those large theaters which attempt to express architecturally not only the entrance and public space in front, but also the high stage behind and the lower storage spaces and dressing rooms which flank it. As in many modern theaters, the marquee is so developed as almost entirely to cut off the en- trances below from the composition Leah ete abt L al Piet *, - o Lan car ates aor Ado Poh eee ac “ PbS ell ae ia in bed) L beh eked ee A ee Ss ch fs ae ne mh 423 ry r Saale Awan i opeiesyeen i above them. 739 Wheelwright and Haven, architects; photograph by Dadmun Co. CENTURY THEATER, ie Oo NEW YORK | : Amona the best of those great theaters, semi-official, which, follow- | WE ing the magnificent example of the y I EE Rt Paris Opera House, attempt to ex- eee press outside the threefold division sane t Deah bed Viet belated el alent Let ek ety Ted oe a x Rag Oo OS a 4 t i a ; = of lobby space, auditorium, and stage, is the Century Theater — once the New Theater —in New York. It follows the tradition of many doors below and fine arched windows above, but it adds a rich Ionic order to decorate them, and breaks up the formality of the whole by the playful forms of the curved stair pavilions at the corners. Neate th ot teen aes rt aa i bh aces ae ht ed hs kt tee) ae een et Lee to ve 2 ; S - a brag Si Chr abe 7 2 Fi ty oh yh aes skis alee ws a es Sr 6 St tk eer ee Se ae ake hoe ot baler blared tia a Naat Lai Dd ten etl San “hh eth ee de ee eee net halen Need eh ae Pion ee a 4 5 e She SAS tS be = ~ =a x ms <5 ae THE INTERIOR Tue size of the interior of the Century Theater allows a side wall treatment more monumental than is usual. Done in greenish and old ivory tones, with gilt and veined marbles for accent, with dull gold coffered ceiling above, and deep crimson hangings in the arches, this ~ . ear - . ee * interior has a daring and lavish lux- ury, a rich gorgeousness of color and form that is festive. It is saved from meretriciousness andrestless frivolity 2 ey rN Ch —— eS veneer ae a A 9 Vas . aa ee el oo .~— by composition conceived with metic- Sea ulous care, by the congruity of its : ‘Em Sie aoe ames) eed | seme Hea BD 7 =m = parts, and by the richness of the ma- a” is eaakreatan ie a} Ki Be Ke terials. Of all American theaters this E most nearly approximates the lavish splendor of the European ideal. a ~— a a Ae 741 Carrére and Hastings, architects hae et ee pis Aes FSS AGe SSA Ssh “a aks S a way ey ot ade Per Ped ra as Se | L. . osTHEATERS 303 A MODERN AUDITORIUM Ture Hill Memorial Hall of the University of Michigan at Ann Arbor, Mich., is a torium for concerts, lectures and vast audi- the like, in which acoustic demands dictated the general conical form. This is treated in the frankest, freest, non-stylistic manner with a series of great concentric arches, dotted with lights, so that the greater part of the hall becomes one tremendous frame for the stage. This is a daring and logical idea, but here perhaps unduly heavy in effect. | | os ae pL aS S- Pata § HE oe 743. McKim, Mead and White, architects; © The Architectural Book Publishing Company THE RIALTO THEATER, CHICAGO Tur facades of smaller theaters have developed several typical schemes. The Rialto Theater in Chicago (No. 744) shows one type, with a principal motif, usually arcaded, a decorative frieze, and wide entrance doors under a spreading marquee. Here the inspiration has been the Italian Renaissance and the material, terra cotta, has been treated with a fitting gayety, though one might criticize the tiny scale of the wall ‘‘stones.”’ 742 Albert Kahn, architect; Ernest Wilby, associated; photograph by tatyay + i oa a Vpthes gett Manning Brothers acs Lh Oe ie nea is: nde yea? Ss WF ve MADISON SQUARE GARDEN, NEW YORK In the beautiful exterior for Madison Square Garden, no longer standing, exactly the right character was embodied. Comprising a theater, a concert hall, and a great hall for exhibitions or mass meetings, and occupying an entire block, the design presented great difficulties. In the building proper was revealed a more than ordinary skill in the use of terra cotta. The tower, modeled somewhat on the Seville Giralda, ranked with the world’s loveliest towers. TAA r,s eo P 4 ~ “he } 4 } + I ies ’ 4. =... RN eo ea) Y RSS 1 heey aes “ ee | = hi 4 Le F ; Pi ried —— Bian nl - ! an J Nesp M Ro bhi deed lS.) o td { Prone) 10.4% 2 it. 1 . “e) ~~? a sy rT | swaiies> 2@, Ve SY eens Ota means Ns Oa / mene tae te 2 \e RY + - a net —" — gears . ~hs mont te | ( i Tons OSE a = 3k Py ery wet les ip a aE eer ean Ys ine Le een ee py a an I ee ee oe ~ te bp BS ee ne od - ey sy nen 7 pet ba a 744 Marshall and Fox, architects ar rae x Was ree be a Cae thes - Peete (cn bar et tt le ne i“ “ ae re = ee PERS Nerontee toe biti ho ta » Serre er tr t te D rea EN ae Ek rc tet er ih Cd coc red TD. ES Pe ‘ ’, th at eT _ See eS a3 a f 4 3 a a “J ie ee om Aer De iy} i & ae) a 5) Py} = C y se | nt ry er -i- O55 * re pie ul Bee FUT Rew es Tart ad = Ee a OM Pry on ee es het ee re Se as a ae ¢ . ry ant at: a Bs 7 Bee Lee 3 ety uJ “J 5 Ps Pero, oe) Pa rl oe) Pe eS ps ee es 2k “ie, isa’ te S746 70 3 a ee ek ee eae ad y * 8 FU ee ee , et poe ea et 1 ee ep SS Pe roe 1 ge oo Pe Pee Peo te re Pg — ns Pa Oe Dana oe hdd\ F a ae ie et te = 304 THE PAGEANT OF AMERICA SYS OF Mi sy THE BOOTH THEATER, NEW YORK Tue front of the Booth Theater, New York, is of an entirely different type. The main feature is a wall treated gaily in polychrome stucco, with three great doorways in rich arched frames of terra cotta. Here all is_ lightness, gayety, radiant color; fit ex- pression for a place of light amusement. Buildings like rn ba deed DTS do) Dednal it heen Dia heen) Bed eM re ay Sohne Se ee ee ee ed Sad ia ad .. 5 Cer rt le merited tid tae .s this make one wonder that Te) bn | rich color has not been more Cee eee ee ee Te L ot daa ro Sac é 2 widely used to diversify the necessarily flat fronts of many city buildings. Wnt imosns rey PG pte Sh tS 745 Herts and Robertson, architects a Fhe INTERIOR, THE MOROSCO THEATER, NEW YORK THE change from horseshoe to straight galleries has both simplified and complicated the problem of theater design. It has given more wall space; at the same time it produces all sorts of the most awkward angles and shapes where galleries meet the side wall. The Morosco Theater in New York (No. 746) is an example of a satisfactory solution. Proscenium boxes are merged into the wall design, and treated with Corinthian columns and high hangings; other walls are simply paneled. The detail is all of a simple and delicate Nees Naa Sram iesecnrlemiee ime eclectic classic, rich, yet restrained. os SKS +e Se, nia, an < iA fi Lee i fy : b+ ae « he a ae i 4 ae es ie ae fF Hl fo e a gE: ie a ae rm "PAs RIK fy — os a t ~~. a ee os oq iN aN ' ' . nh a Bi 4) ‘ \ Sih aa h ‘ | 5 1 ; t sary SAS Petree cmp saa yf BORER a : BGs ES ed Te =i) ee. a7" is at y ‘ FA 4 Gs a NY A yy | Fk ad 7 ¢ i‘ 4 ts Wipe Oak a . Va Ore) 194 > I) ‘\ iN \ 2j)\\! iY I \ i] 5 4 : ‘ j S 2 & SL eT (2) ZANIDS \ \ N) \S At a 746 Herbert J. Krapp, architect; photograph by White Studio a a iF ary ie x = pe : TREO NENT ry “ oe 7 * ce x ra 7 ~ . . . wire ons vee “ FS we y 2, S22 OPAC te Cp > CHD, Op eS ee Cnc oan ; 7 ( a *h we CR OYE oneness SARL EAE ISI a ery FS aK - S: QURPADOAP TD OS OT TE McVICKER’S THEATER, CHICAGO cy} 2A E * - > s?? hrs Abe hd Hever ws He coh ee kre ee ws wy ” TT ge Da hs ace Nad Nasal Peta bathe Nite Lee et Dh se leaticesiaictiel Rett Sesial. Nowe ton Soo bent oe tee a ele Lande deed aad hat tae Piet Te ee ar tae TR ag, en om ira tang ay, ae a ey ea q a =", ; 4 Ad - - . 4 - - ~) oe) ae . aa S - *. S -. x ™ = : THE free Néo-Byzantine ornament has a rich texture, ‘ ei y | “ ys a grace of line, and a lace-like delicacy that seem i i i It particularly appropriate to theater design. In the 7 eu aah 4 sid t old MeVicker’s Theater in Chicago (No. 747) line a + me ae 1UvdUtUtdtitTtT after line of it decorates the wall above the boxes. : ut itll tat | The tapered octagonal columns seem awkward and gainer ace Aut | il . : ds ungracious, but except for them the whole composi- 747 Adler and Sullivan, architects; courtesy of The Western Architect tion sparkles with a delicate gayety. a Ak Eee Ae ee Cen th Par eh Ad od hea eth Ae wd ee a oe es L‘ Con UF A ee tony Ae ode erie , "ot Gr eae A i ' 5 tr a u Ai 5 i a 3 4 f 4 yt ee eee ep , he : A eer ea Ty Il fob ee A A Pah db TERM 5 ae 4 ae Ber kt: j hae bijea rigs Gere : - Diet LP Pere Lal Ar’ Aer le at PY be ‘ ye : “9 ; ; ae ‘i red be ‘ ‘a8 ae a: H a yey 1 be KN yy F a Aine tA" a mre he Use pes Bru Rn F 7 4 Sepape Be PELE ELE TATE BASS 5 BUI 3 at rages) ast by a Sh Sl Ae a A AS Lae PLEIN ALY ein Fle ee Se, Fi 3 Y Sa 5.9 RO Sts or ect Nein THEATERS ©9 cS or ere THE MUSIC BOX THEATER, NEW YORK Amonc the most beautiful of modern theaters is the Music Box Theater in New York (No. 748). It is in a modernized Adam style, and borrows much from we? FE SES ek RDN UC Ee Oe DPCP e eee Crt Poe r rr trcrte tT hottr ht horun mS beer eth at our own native tradition in its quiet wall and roof surfaces and its delicately proportioned loggia. (Compare No. 733.) Proportion, detail, atmos- phere make its facade a true ornament to the city, and prove that gayety is quite compatible with repose and dignity. p ~ rtre he per oal OT osteo aed Bel ad ws = yt eae Se Ve le pene ee pie ng tee Eee ey ee Pus Cee ee eee ean oS ‘s vie tae e = A ere nn 748 C. Howard Crane, aro tect: aa tGeTADH by John Wallace Gillies Peer ree INTERIOR, MUSIC BOX THEATER Tue interior of the Music Box Theater has the same qualities of lightness, delicacy, good proportion, and restraint that distinguish the exterior. It is all ex- tremely sophisticated work — as sophisticated as the name of the theater — but no sophistication can kill beauty founded on such true design. eee ae en Pa eS A eee Pee Se Pe Pe pie ee Tye a“ woes. - ae — a . + A H 1 ie pak rs Pa % fs —- “y vt iy. fy | fy) oa ti y to & aS is ae er - Mabe ) bdo) ‘| : | a I os Bi ib = a | he aa | eo dh i c hj & x (pad te Pa5 e-F PPM te a ¢ Z 5 « . x . - > PPO ee) et Py - = oom A “ Ss) p Wl <> $Y rs = " Lad 1 en Se F oe " ” ’ yi Bee ~a5 Tae pe ey Ps) IS “aod oo = 3 oy - hs PPR te re Te ae Pe ee oe ag * is 749 C. Howard Crane, aeani tect: Ponetocraph by John Wallace G illies "i PFT err = INTERIOR, CONCERT HALL, KILBOURN HALL Ix the Eastman Theater and School of Music at Rochester, N. Y., there is a concert hall, Kilbourn Hall (No. 750), which is perfectly planned. Its beamed and coffered Italian ceiling, its paneled wainscot, with quiet stone and hanging fabrics above, its painted frieze, and its simple, straightforward nt tor , =~.* Z| A ~~ LY \ MA 5 Gordon and Kaelber, architects; McKim, Mead and White, i associated; photograph by Louis H. Dreyer - ri proscenium arch make a perfect environme the music — quiet, restful, simple, rich. Tg ee ee [oS ig eee tel rales ee ed od < ae eh\ a a ee) ar ae 306 THE PAGEANT OF AMERICA Diet iat ber et a eral Bie et tat ce =e 4 SMES ee MEE Ww a dl ree ~~ =“Vrn ert ae Res * ] i - Ned , vs Gordon and Kaelber, architects: rein Mead and White, associated: photograph by Eastman Kodak Co. MAIN AUDITORIUM, EASTMAN Se AND SCHOOL OF MUSIC, ESE Ne nye: Tue side walls of the great auditorium and theater in the Eastman Theater and School of Music (No. 751) are dis- eS a ele ta) Py Pheer al reels dtd Abe qtr Secetyey. a bt hg tal ede atthe ined pact) eed ae al Sd a Pp eM pa ar F —e 8 pp? Pe ’ ae + ea eer 2” é ae ‘ ve - 751 “ . pa ata altho hte Lieb) * by ge ee a Sa tinguished not only by a rich and monu- mental architectural treatment of eclec- eb thon tro eh = Renaissance type, but also by two a = eS ne ear a aT le eh oh ad he akan al eed ee en eet Tee 5 Ba hy hc Pearls, alate ho A ahi “ & ge sae at . * - sy . - - ry . . . r %&. 2s i S) «ts Semen Pek A 9 & Sie we a exceptionally fine mural decorations by Ezra Winter and Barry Faulkner. These can be criticized as breaking the wall surface too utterly; but in a theater this theoretical fault becomes a virtue; it tends to lighten the dead weight of a large wall area and to bring outdoors into the auditorium. "| j ALLEN THE ATER, CL EVELAND 752 C. Howard Crane, architect: photograph by The Heiser Company THE “movies” have worked great changes 1 in theater design. Since it is not distance from the screen, but the a8 of the spectator’s view that is important, theaters have grown longer, narrower, and galleries have & 2 oN Th 7 7 3 7 been shifted farrhes back. At once, more wall sur- face is available for architectural treatment. The ~ Allen Theater at Cleveland (No. 752) shows what NB ie IA “11° . . oietets Ne Sapa e brilliant advantage can be taken of this. Here it is filled with three enormous arched windows. ‘That the windows are false, and electric-lighted behind, would be reprehensible in a more serious building, at i but is quite within the theater psychology. THE CAPITOL THEATER, NEW YORK In the enormous Capitol Theater, in New York (No. 753), the great size has permitted an unusually S ae Jy Aes Sua os monumental treatment over the boxes at the sides Sey eee i f a : Fi Ct oe a? ae ie f.: ie i EI i rg ie z i i he a *: ze YS a a im } - Se eee ~ acy a fj Pa Ge of the proscenium. Gorgeous dull gold glints from uh i i) Wg the Corinthian order under the play of colored lights; ) Tit fi Tt. » there seems just the right balance of rich textiles, fluted columns, paneled vault. It is quite possible that the careful and beautiful detail of the best “movie” theaters, such as the Capitol, the Allen Theater, and especially the Eastman Theater, may do much toward the education of the American Np Si casa) ee) ea 753 Thomas Lamb, archi ; pl k I : : ac pee ALC LL LCCk, photograph by Tebbs Architectural people to higher standards of architectural taste. mpd WR Se PST eke oR ee ee ene ert eerie Sd Sedat tle idee elect tae eal hl Needed a he ete acl te ; Sa he ae AL SAAR es Perse PSee wie kee gS As he » - . . es > bs — mn 2 e - tse Sepa, ay A 5 mk HF Ae Rea x ae eas > em a osTHEATERS Sag General View of Interior. PA on c ri Ce Pero ae 2 a Sahiacbhiahurast © : CA a= = ——_- ef poe r Pez. Sere o> Sa i f ty - Ae 4% r oe a bee ete! Approach to Theater, showing Fore-Court and Shops. Meyer and Holler, architects GRAUMAN’S METROPOLITAN THEATER, LOS ANGELES Burt the strangest, newest, most imaginative of all is Grauman’s Metropolitan Theater at Los Angeles, Cal. (No. 756). It is American eclecticism developed to an extreme degree; Greek, Roman, Persian, Art Nouveau and Cubist elements are fused into an unbelievable unity. The proscenium arch, with its strange concrete detail, the jagged cubist beam soffits below, the pseudo-Greek column in the corner, are contrary to all the rules, yet they are expressive of a true personality, a weird and strange beauty. = fi 7 Ce BAL Ped Set a ad PLPC LP tt PPO Bd eid pot 9 Vides 04 | i a Fev ! I bl ede be TA 4 1 ie de ie A EN Di ate Oh, BR ve OA RA COLL LRU uri Ale fe 40 MOR ia X ede ba A 7 Pe ee oe te a Det $k LAI EPR PCL ay Py pl Py Sc hi pe aoa" F ra Se ‘Sit Bi ; ‘ } fw Ses oe Seated Te | j } {4 i f } KP COL A VOLPI Fie 307 Meyer and Holler, architects GRAUMAN’S THEATER, HOLLYWOOD, CALIFORNIA It is natural that southern California, the center of the motion picture industry, should have some of Such a building should have the most imaginative, the most In Theater in Hollywood, an interesting experiment of playful, the most interesting “movie” theaters. untrammeled design. Grauman’s romantic treatment of an adapted Egyptian style was tried. One can imagine its producing just that feeling of rather wondering romantic curiosity that makes the most congenial atmosphere for a. moving- picture entertainment. P SEEDERS TY 14. Peep oan reas 1 Ada ~ STO be Lb oe = | SRPRURE SERENE. Keto hot arts Sor ~ See tnt) Pyro re) S my Be ok & Sher tS we RE are eta math C a Pe an Ea of rho Aes i ee oe ee A NEN LP De a a "s he = eT 2 ees wie 1 DN yee ne Ao ee Oe Pe ee ae hs - a wn ee man Saas rot ~ - = <7? et 1a ms 3 ce he oe Po tA a Bar| He er iM ; A hi me 5 x fon ~ —* Py | * FETS ae ore te Sr ey So ptt eu Et ke ee = ican 5 Sal Sr ey Yet a a err ie ee) I a ’ S . . = 5 ou te Pt eae i i te ee) ee ed ‘ ¥7 led od ed Le -- 1s Te ae cele eet of os ao - Pee Sy as 7 > a Ata SM toe ee oe 2 ee a. “Seas1 (5 i) eae a 308 THE PAGEANT OF AMERICA Pihed Wok er derive Toot (ota - Pe teh) C) THE MEZZANINE FOYER OF THE METROPOLITAN THE mezzanine foyer of Grauman’s Metropolitan Theater (No. 757) shows strange primitive [onic capitals, Greek guttze in the architrave above, Greek frets, and the great girders that carry the steps of the gallery all exposed and covered with modernistic all-over patterns. It is all immensely rich, a little mad. pee pepe = Roe wes rp ae i. Fa : ery . - a ’ a o. ee ORR IE e e =) a P Y ‘eat oo bh alate “a Saereoeeaaa a idab ian nme bee tee Tah teal ee tare Toler ecter ett te - ri C ay. Foe Fe Poa) yy eh we ad - ear ee 2 oe . yor $28.57 5245650 323 . . a 24 oe eee 30 oe be 32 Ga e292 58 y 5 " 75 a oi co = Je thos “ -- 2) 2 ~ pee Te yt a ee he Pe Pere ee ge) et) PO ee et eo 8 pe a eS et A ee res ee pe, Seed othe : SIS gd 9752" Ade St De i ee eee) a ao A “.i 310 THE PAGEANT OF AMERICA vitality and personality, had become codified, standardized, dead. Richardson’s greatest work, Trinity Church in Boston, was epoch-making, because it united to bigness of conception and honesty of execution an interior that was warm and throbbing with rich color and vitality. So the shackles of the Gothic Revival were broken and a new fashion was set that produced all over the country a great number of Romanesque churches, all with brilliantly polychromed interiors, varying from excellent examples of the style to the most bizarre, crude and stupid imitations. The idea of the ‘“‘social conscience,” the broadening of the whole conception of religious morality to include the entire social organism, played an influential part in the late nineteenth-century development of church architecture. The idea of the right relationship of the individual to his social environment had a double result. It produced the “institutional church” and a highly developed parish house with a gymnasium, club rooms, lecture rooms. The church also was regarded as belonging to the people, and this, paradoxically, made the most dissenting sects study anew the esthetics and practical questions of church design. Excepting the Methodists and. occasionally the Baptists and the Christian Scientists, the denominations soon abandoned the preaching church, for a church belonging to the people reaches beyond any mere sermon into the realms of deep, simple, religious emotions, of mystery, quiet, awe that lead to wor- ship. The traditional forms of Romanesque, Basilican or Gothic, the chancels and arrangements originally associated with the Episcopal church alone have been used more and more in an effort to inspire these emotions and the clear, too bright atmosphere of the preaching church frequently has been abandoned. There are, however, a few special types of modern church which have kept themselves aloof from this trend. First of all there is the Christian Science church — auditorium pure and simple, light, airy, absolutely open (No. 789). Circular and polygonal types have come to be favored especially, and the style is almost invariably a rather cold and magnificent classic. There is also a special Methodist type, for the Methodists cling with great tenacity to their traditional preaching-church type. It is developed in many ways — cross-shaped, circular, octagonal, fan-shaped. The church is usually closely or- ganized and combined with Sunday School room and parish house into one composition; the whole is always open and light, but frequently bizarre and queer, and almost always rather cold in detail. Of course there exists a special Synagogue type. Although classic styles are occasionally used, more often the detail is of a Moorish or Arabic type, sanc- tioned by age-old tradition, and used in conjunction with forms often of great and daring originality. The plan is usually simple, and often approaches a square. But whatever the type or the style, there seems at the present time to be a marked trend toward a carefully considered and restrained emotionalism in our church architec- ture. Not only does this characteristic mark the best Romanesque and Gothic and Renaissance work, but it also saves from coldness the best modern colonial churches. In all the styles, too, there is a growing disregard of historical precedent. Eclecticism is dominant; modern American Gothic is neither French nor English nor Italian nor early nor flamboyant. It is governed by emotional consistency alone. Little by little, the terrific amount of false construction that marred much recent church work is beginning to give way to a greater simplicity; ostentation is no longer considered a virtue. Struc- tural honesty, free style treatment, a warm and human emotionalism of effect — these are the dominant ideals behind the best types of American churches to-day. Wied weak “IP tet el kt ed ¥ a r oo Pg) bo aaa og tam h ee a eee ot no eos. a ae ete ye Oe ~ P; bie teeny ak shee) Net! beer Sh Leia * Rig Ok RR ORE mr At teed — tee tn 7 Aer at ert tad be om pe Cn » Be ad -_ a * Se eet ate itl Lnee ered itech Vie ce bbl Rr a Da . ot rAsirs r o i Oe re ee el a en, ct i ‘ ca SIE RN La aN A aA aR tt a cg er = ST Aa ae pe dy a Ps ee 4 ey ie Ce i St ae ae eh gti pe Be pe te a ac ee al Rina ten el oe td he Wee hd Lhd Pg cal yg s Se . penne are E Se oe t=— oe os = So ki es a . - or eee Ws +o | PAAR “areas Soe le tes ster Sie baa hele bahar bead tn See ted eee ee) eth er a> atid WEE he ae en Ga ae we * x . Ee te Site wi ate ~~ * ee «iat DY Beene Lt 44) “op ty el Bit aia OS PER tae Se * x Neh or * eae 2G Seon SE SS RR ee Seay - 2oee Yoo “ a aTHE CHURCH A TYPICAL EARLY NINETEENTH- CENTURY CHURCH AFTER the fading of pure late colonial tradition in the second and third decades of the nineteenth century, church design fell into chaos. The Greek Revival never exerted the complete sway in church design that it did in other types of architecture. The Dutch Re- formed church in Hackensack, New Jersey, built in 1726, but enlarged in the nineteenth century, is, in its present form, typical of church design in this period. Its pointed windows and crude Gothic tracery may date from the original building, but whereas in the eighteenth century such forms are rare; in the nineteenth they became well-nigh universal. i¢@ he: ’ ad | aft Psa Ai Beni da’ eA pL ee pr Le ee | i | re ar | s | pe Pe le hay : "4 ihe fe MP eT hd Le EP By lad ery at Bit ded eet pe Re ee eee ee Uy ee i Eye Ab oye go ght one, Ot Crea ee Fi i ON eae, Ue el LD ter) ie tS OLY bre me Be 3) CIEL oie y na PAD UR PUA oP tae Cac He BL Fy ra ie LE aA Bigot ones le pk po pec eames ROP is Sa i ED eRe EL LY Prete PS ied fyi te SP art TY AY Arey aid iA te Cod Ja Pa fe, A : ‘ ’ ' 311 soot owe 760 From a photograph by John A, Wilson TRINITY CHURCH, A VITAL INFLUENCE ON CHURCH DESIGN Tue Gothic Revival found full expression in some American churches at an early date. The most noteworthy is undoubtedly the lovely English Gothic of Trimity Church in New York (No. 761), dating from the ’forties, TT re ene MF, r ea "a. Te i ee he 761 R. M. Upjohn, architect; photograph by Wurts Brothers GRACE CHURCH, NEW YORK Grace Church in New York (No. 762) is another of the masterpieces of this early American Gothic Revival. Its exterior, like Trinity, based on English Gothic precedent, is full of grace, delicacy, rich loveli- ness. But it is beginning to show the modern American eclecticism; its spire is more German than English. So strong is the composition, and so sure the detail and so perfect the execution, that not even its present commercial surroundings, not even the change of taste toward a freer and less academic style, can kill the soaring lace-like beauty of the whole. and designed by an English architect whose work in America had a vital influence on the development of American taste. The interior of Trinity has not only beauty of composition, sureness and correctness of form, but also a richness and charm of Gothic detail then unknown in this country. The interior is still distinguished by a quiet emotional atmosphere. a — — SOT a ] | coon rv TY Oy 1 Psi mn mn ws Anne ma ~~ baa baa bAk WS {Um mo A FY BST WE Pip ae cu ‘ cP Wa wos e Dy: : ve fond Pa, Fey Pee gl aay Pees Pk AS , a vO : 5 +e" 5 > oe” ~ * ud J Fo * ei " Je te oe ye Pe . ee ete TP et Per ey eee et) Pe i ae 5 oy oosae ty eS ee re eg rt cs oe “OC nert eater Ayan “ bodied se ote Leh Saadeh cod be ode ate Sod ot Si oe te eh ah ae} finden thd phen ~ dl aaa hen a dn cath heeled Takada! nel tan be aa Takeda ete sen were ad dhe eer lene edi Toe OD a ee OE ne ee ey ee Bille eee ar. a a Pe ae, ee ee woo pe mt a! di an Pade) peu. abel bah eben eral RLS Py Se ed ee] fet < ey a. Fi ar At ra pers - = e- ae) 5 . re Fs “ = - : ae as Dah ie Nae aa dea tar a aren et hy Par eb ee a Se eo eS 5 a ee ‘; Lay es fr Bi ae Le tJ Ce 4 be iH a — vol Deel ieiath sd latte halite ste te « e 2 4 312 THE PAGEANT OF AMERICA 763 Cram, Goodhue and Ferguson, architects INTERIOR, THE FIRST BAPTIST CHURCH, PITTSBURGH THE interior of the church (No. 764) in its sincere treatment of the materials of which it is composed, in the imagination which has so perfectly combined elements from historical Gothic styles with elements new and original, and in the beauty of the composi- tion which leads so brilliantly up to the chancel, is typical of those qualities which made the earlier churches of these architects epoch-making buildings. —— aqme a = — — -—— detailed anttiad —_ y Cpa peepee The NS Jour ne Soni ec a) prarerte eae 765 Charles 1 T. Matthews, architect; aa by Wurts Brothers A MODERN GOTHIC CHURCH THE history of modern Gothie church design is largely the history of the work and influence of one firm — Cram, Goodhue and Ferguson (later dissolved into two firms, Bertram G. Goodhue, and Cram and Ferguson). Their work, from the first, is distinguished by daring eclecticism and great originality. The First Baptist Church in Pittsburgh, Pa. (No. 763), is a characteristic example of their earlier work. Tracery and details of English perpendicular type are com- bined with a daring use of rectangular lines, and of segmental rather than complete arches, and the whole given a silhouette more French, with its tall jleche (spire), than English. ms 764 Cram, Goodhue and Ferguson, architects AN ADAPTATION OF FRENCH GOTHIC Tue Lady Chapel of St. Patrick’s Cathedral in New York (No. 765) is one of the surest and loveliest of the more academic modern adaptations of developed French Gothic. There is in buttress, pinnacle, fléche and tracery that peculiarly satisfying grace and lightness that characterize French work of the middle of the thirteenth century.THE CHURCH A FREE GOTHIC CHANCEL In the chancel of the Chapel of the Intercession in New York (No. 766), one sees the developed quality of this free kind of Gothic. The occasional harshness and awkwardnesses of the earlier work are gone; instead there is the beautiful open timber-trussed ceiling, striking in its color, height, and airiness. Restrained simplicity in detail bursts into flowered richness at just the right points, so that the whole is full of a deep-textured solemnity, a truly rever- ent religious atmosphere too frequently missing in American churches. + or ye oS . Ee Osi es Sane o at teeida kebab (ye = ao a eo ees ‘ ~/ 2) ’ yo i. as 767 Cram, Goodhue and Ferguson, architects; photograph by Kenneth Clark THE REREDOS OF ST. THOMAS’ THE interior (No. 768), with its beautiful reredos added later by Bertram G. Goodhue, is more severe than much of their other work, more coldly pertect both in form and color, yet perhaps by that very severity impressively grand. The influence of the late French flamboyant work shows in the treatment of the nave arches; but there is nothing academic or historical about it; all is newly blended, creative, and even its coldness is vividly alive. It is the coldness of the aristocrat, not that of the dead. we Pd IPL sa ova A ed ary Pret | Red Ce Po LE OE er j a ea eae LL Ie a! USS Pee AUR EAL | Pe de | ee AY ee a ‘ } oO eh et hie db oe B ye LAUR Ah) Li gy epee. Wh 4 ie re | eer | i a t . a 766 Bertram Grosvenor Goodbue, architect; photograph by Kenneth Clark SI. THOMAS’ CHURCH, NEW YORK Typicau of eclecticism of style, and of poetic imag- ination and schooled richness, is the exterior of St. Thomas’ Church, New York (No. 767). There is French influence in doorway and rose window and the general picturesqueness of the whole, English influence in all sorts of details; and both brought into a perfect artistic harmony; both used only be- cause they were natural forms to express the desired emotional atmosphere. The design owes much of its effectiveness to the contrasts of severe plainness juxtaposed with lace-like richness. ‘ . i bts ie + ~ —— 8 RS ES _ —_ ————— eee by Kenneth Clark * y re Len > ai es q $4 naa ft ey fl fy Jee se, a .-* 313 ‘belo La | PR CEP ECP rhreere cent fa s4 Seiten ion bore reat tos BAe - ti < I STEREUWEREDERPA Pte tr coe tf Ybor bts PPP tt ee tery er tr aS ter 7 i) aw 7 Les, po OT eA ae i had Lr ee pS ak, rey ae SOO ee PUT eae hs Tt Ptver tty sha Peete ee Pt ra cee 7 “ aed 0 - I a | ee eS - ¢ “; » é . - ao. . Vt aan M5 AT See tr - r4 a ana) 4 eed B | y ~S a | » ee | rg oe = Se is) toe oar | i a Cr r iS Be) ht 2 end Rit “4 pu at a - Fc 3 ra to _- * waste) +e +] Ct kd Co uJ od ” Ee Ee Se 5 535 Sas qyaars Pa ho so Ghee eee ae ee id tS Se 3s Pree yaa Te ea Pe ee ee od dt) ee a wa ya _ = ‘- ro ire aa oe Pee ed , PY £5 eS eo fo -a PRIS a Yer * : 3 Pe eh cet et\ a. oo} THE PAGEANT OF AMERICA H ied eel hee ets elk Caan thet bee WASHINGTON MEMORIAL CHAPEL, VALLEY FORGE, PENNSYLVANIA THE Washington Memorial Chapel at Valley Forge, Pa. (No. 769), is of a Gothic more academically correct, and yet more full, too, of warmth and in- timacy. Its rich pinnacled choir stalls are par- ticularly noteworthy. The contrast of stone arches with the dark timbered roof does much to give this interior its distinction; and it is touches of this sort that make the whole a creative work despite its closeness to precedent. Proportion, contrast, color, richness rightly applied are effective in any style. — Soe ter . a = 2 — a» Cee See eee rr re a ee ae = ‘ot ~~ ¥ bet bat Uy uee | Utd ak seed bine bet it hel Chel tate eat led y . ai anh ; f { I hi) d Who } 17 bi | aan ae oa meet aoe « Py x. eb whe (Ferm { rn le tc re Pt ea == tN ¥ em, bens SOS BS ae Ne ee fe SD EE ee oid — ide he he tel bt aL ee ET rie hte . re eee ee ee ee ee Sate ar as a net ne at nn ca ere tea fe ° » = ot = ee a x = = ns 769 Zantzinger, Borie and Med: ary, architects; eR OCORTEDE by John W allace Gillies MODERN GOTHIC AT ITS BEST In many ways the finest of these modern Gothic large city church interiors is that of St. Vincent Ferrer in New York (No. 770). In it there seems to be the perfect balance between freedom and academic style. Its proportions are so beautiful, the materials in its structure so well used and expressed, that its Sa Sia Rie ira ~ "oe SOIT re eh ees ee rete teens a care a “ os, oj ‘ - os : La o 7. whe A aA ote ah ed on es Pim Bh re, / ‘ - a , ft _ ~ —g-+—-<-44 r -) Li ore Ser pre effect is profoundly satisfying. eke er ty 7 770 Bertram Grosvenor Goodhue, architect; photograph by Kenneth Clark | a 5 ‘A | y. ee: 3 a Ag t ae te he ie fe! oe Ay | ff } Ps J a Ly te: THE CATHEDRAL OF ST. JOHN THE DIVINE, NEW YORK TakinG a place among the greatest of European cathe- drals in vastness, the Cathe- dral of St. John the Divine in New York is bound to be, when completed, an impres- sive monument of American ecclesiastical architecture. The exterior shows a close following of precedent. The design for the flanks of the nave, with its mighty but- tresses, is beautifully free and modern and yet true to the essence of the Gothic spirit. T te a eee ee ee ae ta ~ e — = ee ap ee _ - a he ad ei i a a a Cn ahah a ae " “ J en up sPe, ele Pd aa S a = ~ = m ba) day ° ae = - “ - cad . ~ - + > ‘ oe. * ae tS tli ee th ie bh h otk tee ns Ss ; St ae pee Siete ee eae iy faa ates , Xs Bee Tie Cram and Ferguson, ee aa a tr from the architects’ rendering * e 5 aNd hoe al eben Sr sa eo aTHE CHURCH THE NAVE OF THE CATHEDRAL THE proposed nave interior of the Cathedral of St. John the Divine is more daring, more brilliant and even more successful. The soaring verticality of its piers shows an American architect attempting, and successfully, to gain an effect of tremendous height that the builders of Beauvais attempted, and failed in achieving. The romance of perspective, the effect of varied and differing views, yet all ordered and unified, the tall arches and shadowed heights of the vaulting, form a whole that is simple, beau- tiful, overwhelming. [er ASeray 5 ya. £' f ETS Nh verte Ds Ten ae pay Las Be Tee ri chair ts TS KSEE Se SCM, See ee ae 773 Rossiter and Muller, architects ee ee | af 4 7 Gi aN Reb . me Th a ~ Nt) icy, > ‘ S “AY > be oh i SO NN As \\. | E ; ; Ne: Aer 4 VN ft et i for As “1 I 3 X 3 : ams | 4 Ay ~) t a 4 4 f T . 5 . | if $y fA | oT : | +3 | i : “4: 4] - i he's Yes \} ; pay e | had " , ) “ 1 | } - a é } ' >. , , i 1 314 + 7 f f A 13 i 3 of ei + 14 | OB ee ¥ 14 33 1 * iS 4‘ } : + | te 131 si + r re } 4 te i oie A} ht '¢ 1113 mek vie. i IF oe | BY Ge z a ra hh. “ 4 ad 4 Pi j + r : rt i ee sf t . } e l |g my { - al “oy { a | t ye 5 co - iT | Ht. Qi) , ! «la Bi eee Tay AH | |e NN ke) (| aa ea II ) | iS: a | J i Y " fs te 4 "1 : ta } i } & ; j d . ’ 4 { r r ; Hien4 TH BY t | i] ad ey =I } My } Woe 4 i j } t} 1+F t ee | Nl Vd ti it q } ' 4 eS 1] ; ; ’ { we i Ae bth Hy HN r a4. leat D ‘ oe Net = Senet tines ! y % — Chae ae ay ‘ 7 | = ey na i neaw “Sit eee , Co on ae Se atone hee taeda 1 es a Ss ea Py aOaes Be, ESE + ox . itll, 2 Mighty ~ haces . pie te oh ra ee 772 Cram and Ferguson, architects; photograph from the architects’ rendering AMERICAN GOTHIC IN A SMALL CHURCH American Gothic has made equal progress in the design of the smaller country churches. Between the design of such a “carpenter Gothie”’ church as that shown in No. 313 and St. Michael’s Church at Litchfield, Conn. (No. 773), a great way has been traveled. In St. Michael’s there is the sureness of mass composition that one expects to-day; and there 1s also a delightful contrast of rough stone and rich decoration, and tracery of late ‘‘decorated”’ character. The whole is distinguished by true poetry of design. THE ELLINGWOOD CHAPEL AT NAHANT Nor is great cost necessary to beauty any more than great size. This chapel at Nahant, Massachusetts, shows how great is the charm that can be produced by the simplest means. Here there is no expensive tracery (and cheap wooden tracery is pa an abomination) or any rich carv- pee as ing, only rough stone walls, a slate roof, and a few small windows. Yet the effect is finer, more beau- tiful, than that of many a church that cost two or three times as much. One can create inexpensively, never without composition. LE Sie er SPE AG oy SS ae Moe, Par, ; st 4 wieeel ’ . eo ee wa ee = 2 8 9 te Nie eta Ah yas ae emt) py ‘ eC st ye — mErIN Cry i 7 » ¥ Tae ey Sah ~ STP AY 2 . cs fe 32 = s hag TO. gk . i Fe dy she vac tae Mme ne ek ae Ly Vultee oPiak s mel wheielaats na? fe yee tis tiie Cr ie 3 Ried Say pee CA tan Rew asain et OO, PERC NS EMEC nae hoop ih Am pi beds SESS IESE EOE IEEE CWE Se wENe Piet tom top hak tee h - et tae - —* oa eed — Wt byt atte a har eee oT. Tepe KT te" Ae Sy =! “a A 4 ra | FI ve rar | Pe ao ee > Be —£ a | = a2 “4 ‘ A} Ls} 5 - i A > Pee CRS ATOM Me aS ones wi Pe) ee be | TG va hie a 4 yee Py Eee Neo pe eee eee er ebey Re ak aa trol Genta trtk Slee Lee Seb bre Si enti Bt - va Tey ~ ery er tA PN Se rete ee |e TC Spy Cfo BRUT WN te tert Tk ae = - eo + ey re ¥ ad ~ I, = Se) nt . Pee e Pe et Pet ed uJ fa 5 pr yi) Sat lag 2ay tt, Se TaN Po yee sh GH wa OP he le Te YP et , td éoviwbensieslte he ae) et Peet CIES aoe ae os Ae, ie ats, ith Se ATO Die ee) ee eSeel 8 Pd ns _ Ws Pere oe eat eG ip 2 bia eed eh belle Tel tal ler Teer ‘ ae S Ce 5 a x a p “ pe Teel bee ee ent “aia 2 es a G ae iy abort he fa ites tench table ahaa per ree aredee ates AL Potala et . fe, 5 ‘i rm ie? e OF eet Le — & _ oe . + 1! \ (i i ee loa bases hh ucla atin yea hel hel hed Sek ka nat “een et lene aetna oT he eet ed Rate eae Tt . . en “< 4 a areT & ie wo rs ey 2 F d -— —_ * c > A ba A a) = . - « a ie mI - : a. “ia “a - Pee si < Serer A gh gg gel Bh t Care G Sy at Ae 5 ae * - Coe if i = a Pi Sie Por s. be F} io f is ae iH ee a i g re J fi: . rh My 7 f ha Pe Reet a) ele birt is be detent ot td a i hella Nile thd eee Rade el hel et be te Ld eh eet ho ty ee , rm en z= Oe oe ie oe ey ey Se! a - a > ie * PA Aa oe Sn 316 THE PAGEANT OF AMERICA 775 Cram, Goodhue and Ferguson, architects; photograph by Kenneth Clark AN INTERIOR OF LOVELY SIMPLICITY THE interior of St. George’s Church at Richmond, Philadelphia (No. 776), shows an expression of the same truths. Color, texture, strong simplicity of form well composed create the effect of quiet and sure poetry which this simple interior possesses. eaiahneon: on i a 2 J a yg Tee 777 Cram and Ferguson, architects; photograph by Paul J. Weber A MODERN CHURCH INTERIOR THe dramatic character of much modern church design is well illustrated by this interior of St. Mark’s Church at Mt. Kisco, N. Y. (No. 775). The dark shadows of the simple timber roof make a striking contrast with the richness of the delicate rood screen; intricacy of fine-scaled ornament on the screen gives a sense of richness and mystery to the behind. climax — the chancel 776 Walter H. Thomas, architect; photograph by Philip B. Wallace AN IMPRESSIVELY SIMPLE COMPOSITION Tuer interior of All Saints’ Church, Peterborough, N. H. (No. 777), is another remarkable example of impressiveness simply gained. By the use of simple forms, whose primitive character is the result not of affectation, like much modern primitive art, but of a direct use of the materials available, by beautiful composition, and by a careful use of the colors and textures of different materials, there is produced just that charm which the American traveler seeks in old churches abroad, and so seldom finds at home.“ eet a Te AA ee A Py il Die wa: Nera 1's THE CHURCH 317 MADISON SQUARE PRESBYTERIAN CHURCH, NEW YORK Bur American church architecture is by no means limited to the Gothic which seems to be traditional in Episcopal churches. The so-called “dissenting” sects and the Roman Catholics have made frequent use of the Renaissance. The old Madison Square Presbyterian Church in New York (no longer stand- ing) showed the enormous possibilities of domed design. Its use of polychromed terra cotta was remarkable, and its pedimented portico one of the most perfect in proportion and detail in America. Influenced in part by northern Italian Renaissance, it was nevertheless instinct with fresh form and lovely composition. r PCD eT ee" r es Tat PaRao SSE ; TH") Bi Wi tks fi ‘ ex i Me -, tee me Oe tne ate, SS ; 3% ‘ i! < ney, 5 a 4 pelea ey Sites awe Tees wats ao ( y eeariy - wet aa) 5 ’ Z y a gaieaihd 5 at Bite , Mg fea ahitdns : rt Et We eeR pee 1 arbacme Dh boeli k brace ita 779 McKim, Mead and White, architects; photograph by Louis H. Dreyer THE DOMED CHAPEL OF AN INDIANA CONVENT Tur Immaculate Conception Convent and Chapel at Ferdinand, Ind. (No. 780), raises its domed mass most impressively above its terraced hilltop, and reveals the value of the domed silhouette in giving character to a city sky line. The chapel itself is in that mixture of Romanesque and Renaissance styles which characterizes many churches of Milan and its environs. Particularly noticeable is the effective use of brick which this style permits. 778 McKim, Mead and White, architects; photograph by Louis H. Dreyer MADISON SQUARE PRESBYTERIAN CHURCH — INTERIOR Tue interior of the Madison Square Presbyterian Church was almost Byzantine in its simple forms and richly decorated surfaces. The all-enclosing dome, with its ring of windows, made a perfect frame for the Presbyterian service. Yet all was so handled, so decorated, so softened into rich quietness of atmosphere, that there was none of that strident obviousness frequently found in Protestant churches, and yet no sacrifice of use was made. It was a church planned for its purpose — preaching. ry, ne EE gel Il ape eRe OM AIP OT eLetter sl) PU Ia IAL ae he A, ae A ern Le ed UP dba eu bel Rd Pie kPa a ee Le A ees Pee eA iGo ahve J outed. AY A eee, BME Mae Pu ag dU PL rin dry be bie Pe act PIE eb ae ed ay Teh arg eae ee Pitts batecamaeany . \.% Ippon hs Sa a Seas Bet Ane = e& ay Ae haa es teat ant baited pak pete sk hate . out Thm Np ‘ay vate e Cy | 7 Uy ae ys r ae (ae J we bf At ey He sl SUS Tat REN SOME a ie a Fd TL ODT oA MO Ro 780 Victor J. Klutho, architect; photograph by Eugene Taylor ey ie ee ey) me Fa — ee i Pe TE ATA My ES i IPD Pee lite be eNO Dy erro Pel pie Sil Ne we , As Rta ea yk weicosrteer ttt cat aa A BN te “ en PIT A Sate Rote A rs as ak Die ee a Ee pe o ee eee tee PUN ts tC Tt rye va Peete te rt = "Ty Ce. ee ed . Tat ee NR ee ed 4 ms a} ay # Pp ye y er) g J 5 es Pan yds D € ae o Pea Pay ean Te ceed ks PENTA on ee ss * wat yes 54 SSUr se pd eo 4 So et ed , ra a” a P< 5 Ss s. ess $s ia ee azt Bays ee cr ee ee ee yeu Uae I ee he ee ee Pe Te ee de ed a ke a rd s ~s A e OP ine ek en te gee Pd ey| | ; y \) Si eae 318 THE PAGEANT OF AMERICA hed Wel eer ero Toot ITs o - t Od hy A NEW AND ORIGINAL ADAPTATION OF BYZANTINE THE interior of the Church of St. Francis de Sales in Phila- delphia is Byzantine in its great dome and its carved details, but A A eo a me Bo PTE e baie hel Rik Ce Seed bet hele hd ote ate eet i . Ce ont re bE ae Se - : Pare . ps in its use of rich terra cotta moldings, its insets of colored tile, its brick laid in striking patterns, and its round windows, there is a fresh note, based, to Creat T “ a “ae. end Si ici lel Leena arated ed ad oe ioe bien ee be sure, on some Byzantine ideas, but used in a way new eee eer renee ee pe bear hetg a eps and original. A ed Ver itbe werk ET 781 Henry D. Dagit, architect; photograph by Tebbs Architectural Photo Co. Cede eS os THE CHAPEL AT COLUMBIA UNIVERSITY Tue Chapel of St. Paul, at Columbia University, New York (No. 782), is in many ways the most alto- gether successful of American domical churches. The beautifully proportioned entrance portico, the grace- ful swell of the dome, the careful treatment of the richness of inset limestone, and the frank treatment of the brickwork with here and there patterns and insets of shells, all make a building not only beautiful in composition, but full of intimate quaintness, of details subtle and lovable. This chapel, moreover, 1S aS unique in its structural as in its esthetic qualities, So eyes are ange eas ee a rahe, pal aot ! pare ¢! for it is entirely a masonry structure. “rn, ~~ hm “im , ~~ iy — = 5 ons 5 5 See si Howells and Stokes, architects; photograph by A. Tennyson Beals THE STRIKING TREATMENT OF THE INTERIOR Tue interior of St. Paul’s at Columbia University is an even more striking creation, because so freshly original, with structure and materials so frankly ex- pressed. Moreover, the brick, the terra cotta arches with their sculptured evangelists, the tile vaults, the dull gleam of bronze gallery fronts, the rich brown of inlaid walnut choir furniture and organ front, make Spe ees ot a harmony of color unusually subdued, quiet, yet ea TalataL aly Sail sae Bt Tl i rich, a harmony to which the glowing blues and reds Ail sacha Tn ill So atts) 5. TI ar eg of La Farge’s stained glass apse windows give Just gi i ite oe | Bes Se ue yes Me a | ae a os a ' f i i 4 Fi . é p f Fi is i eh ae fs: {. ie i 5 i i fF z i € t hs t 5 ae ce E eer hae ot Re De ee “, Sp ge + Saha hatter te hele Nel ed el tel ee al te TT _ J ye ae Pte eae _ a. . * Se ie etalon alicia ieee 783 Howells and Stokes, architects; photograph by A. Tennyson Beals = the necessary climax. ht Dac) hth Sch hes bh tre te ts ed 4S - ky me %, = + Re eR es Tk 25 sie PAs are ‘ > » Ske Fee . a tet SS pi ay ere ey Ne Reads Port ett SEED Ser ieee ica THE CHURCH 319 THE ROMAN BASILICA INFLUENCE ee a Bian ty Roman basilica types have influenced many modern _ | American churches. St. Gregory’s Roman Catholic | Church in Brooklyn has the type of facade, with portico and tall campanile, found on certain Roman early Christian basilicas. Here again, however, American eclecticism is at work; the niches and pilasters of the upper part of the front have a Renaissance flavor and the rose window is Roman- q eevee esque. Yet it is all unified; the same spirit pervades iaitRnaeisyy en nue a every detail of the whole, and the result is a church 3 EN Sia ae beautiful and impressive. Se ite tus Coe fet ete us er tnt. - ~ Pertti eh ott AS DUM ~ a Peet oT ter) rr A oy T a ae Pn ee Sh ee CO) etre: me a EAE 7 , a Oe ay iad wr ce ae ae Ee en tee re Rp < a “ Oe’ . oT _ AL ee = wt) owe eh -~ ae t - Eat 55 = r aT eS EN 2 eet eed Pee Sek : AmB a od 2 VA ead oo tow - Eee ca ay hk Py 784 Helmle and Corbett, architects THE INTERIOR OF ST. GREGORY’S Tue interior (No. 785) with its arcades, its clerestory windows, its rich early Christian baldachino (canopy), is closer to precedent. ‘The long range of arcades and the successive painted trusses of the roof lead the eye surely and inevitably to the richness of marbles, ried WA Se Le Serpe ha TPC ie of mosaic, of richly colored paintings, which make a ~~ at tee ee eed Ata er eee ee Yee AL We Pee ge PP eet the chancel an adequate climax. . a fa ) a* o> * a 785 Helmle and Corbett, architects “a ma I s HI ae : i rs a hae 3 sf ie 4 > eae a = ie na | a i he s oe 2 Den vone A CHAPEL OF SPANISH RENAISSANCE Tue Pauline Roman Catholic Chapel at Broadmoor, Colorado Springs, Colo. (No. 786), has a basilican plan, but uses another type of inspiration, more ony tiv i ro ra] Shay or eS SEP CPN et eed Pt el suited to the er er) . 5 » . locality the | : : P , b i ae - : | Mee i | § Ui a tt —— simple yet dra- ~ ae * ‘ sae . ayy Be Pee Tae pare 5 TET “ , 2A i pee | sek OS ec nce nO ON RL EI oe a nO matic forms ol 7886 MacLaren and Hetherington, architects; photograph by Bh ~ . The Photo Craft Shop the Span ish Renaissance as developed in the American colonies. Quiet stucco TS Poe 7d OSE Yee I te oy oe Ce a al a a eo walls, and the picturesque asymmetry of the front with its campa- nile, form a striking foil for the rich baroque doorway. yi yd i - AN EFFECTIVE INTERIOR Tu interior of the Pauline Roman Catholic Chapel at Broadmoor demonstrates that expense and richness are no more necessary to an oO SQ ed eee eee effective classic interior than they are to an effective interior in Gothic. The well designed composite column capitals are the only ornament used: otherwise there is only the broad surface of stucco. No mold- S * ings break the strong curve of the arches. Yet careful proportion, direct simplicity in roof and walls give an impression of dignity, of FRc ere eae Sa ete Ganitishopie reverence, that many churches much more elaborate totally lack. photogra o Craft S$ to . "ae 7 er ora rr] ye Ae F ose hs gets ee ee et) PR Le Os a oe Pi z of —- ¥ ° = - tae hs nt oeTAMBOR \ THE PAGEANT OF AMERICA oo to © ceric Dik Viet rst ber et re) be TCs tC 12 THE CHRISTIAN SCIENCE TYPE THe Second Church of Christ, Scientist, at Rox- bury, Mass., has, by ia eels ce cutting every inch of ornament save the cornice cresting, and by a frank domical expression of the he: mS “ wr great auditorium within, produced an exterior of marked originality, to which good proportion gives an added and con- * “alat* r vs i) xa 36 Pi abel taste har eerie abd ono ae ea beer COT et Det et ie eo) rs Ss - . = et h ns he 2 ‘, bs a ~ 2 2 eh ry.’ ve, 2. 5 é we oe Sh ee : ' "7 g : Saal Cae reo st SAB pe me strolling beauty, and sim- 0 ee aia : plicity an added power. Fin te tete Pee hs PA te =. Yee . dies , mencmoneeial eal) ; ~~. poet ti =< a eet ef ee Shepley, Rutan and Coolidge, architects; photograph by Paul J. Weber a : i . rm iii ac A - ~ 0 ee GO : » sa apt Fra aaa SALI Sagi ae “+ Way” :z, the . . hie cw bled Veith eet ele he het Le ett ye eit iar eet Pea ae a aN ane ie a THE SIMPLICITY OF THE INTERIOR The interior has a sim- ilar originality and power. The vault is kept simple; the rostrum given impor- tance by railing, reading desk, and organ. Pews and a rostrum railing of almost colonial type add an intimacy and grace too frequently lacking in the similar open interiors that are so frequently found in Christian Science he her hed ates = ? [ oe Pel 3 ee bs . f. aa J f ea a ine ae F Fe oe ee Br: b be y ae be a4 er t i r ¥ churches. 739 Shepley, Rutan and Coolidge, architects; photograph by Paul J. Weber AN ADAPTATION OF SPANISH MISSION DETAIL Tue First Congregational Church at Riverside, Calif., is a brilliant adaptation of Spanish mission detail to the problem of Congre- gational church design. The simple stucco wall surfaces and the welcoming arches of the arcade well express the character of the church, and the richness of the — Sah lt a th Pe lt al DD ah Rae seceltate bite Dinh Niles had Dee Sse OW Nite et eh De tel ee tae PP. Phe aera Sade or nade heated td nacht et Let ets it Kl x be Oe mCi a . Aa at oy a a ik Ra ek fest 3 Po} oo in fs a 5 sory a a ~ baroque spire and the tran- sept windows, beautifully detailed, add the requisite religious character. 790 Myron Hunt, architect MeeTHE CHURCH 321 SA ae \ he MOR io) WR Peed 1h te. mA debe sonst ha jp erate a Uk a Oe 791 Harry W. Jones, architect; photograph by C. J. Hibbard CHAPEL IN LAKEWOOD CEMETERY, MINNEAPOLIS Tue chapel in Lakewood Cemetery at Minneapolis, Minn., is, in general form, purely Byzantine. But in detail there is a strong admixture of modernist, art noveau, influences decidedly French. Again the dome asserts its importance; the rise and sweep of its swelling form, over the ranked windows around its base, is the secret of its impressiveness. ry as Frc ara A " Ta ee ee FECAL LCL WT (Ata eet SOMBER SPLENDOR OF THE ERS PASO RT ies INTERIOR In the interior of the Lakewood Cemetery chapel, the great fault of its exterior, its lack of height, IS still further evident. One feels painfully the need of more pier under the great arches; one feels stunted, crushed. But aside from this, the combination of simple surface with rich surface ornament of marble and mosaic, culminating in the loveliness of the crown of angels around the dome, makes an effect of somber Byzantine splendor seldom attained in this country. aa ne a r a] rt} ig Dts "3: z ah see La a . Mere . aC ye SO Re : hd a1) - y ¥ P> 792 Harry W. Jones, architect; photograph by C. J. Hibbard pees | Re — eet yh 'e ‘ A METHODIST CHURCH OF ANTITRADITIONAL FORM Meruopist churches have sought strange forms. Their structures until recently have expressed that reaction against an outworn and comfortable form- alism which characterized the movement that created Methodism. St. Paul's Methodist Episcopal Church Iowa (No. 793), is as consistently antitraditional in detail as in form, and expresses in he blockiness of its tower, the uncompromising squareness of 793 Louis H. Sullivan, architect at Cedar Rapids, its severe rectangularity of window forms, t the doors, something of that rigidity of puritanism that is the Methodist pride. BPe SE PER RGe YC Aa I) Prertsttc bot -~* eeetG eT toa] SEMES Ex SE Der EDEL UN ESS weer oan tre diet hort Sy it ry SN . a5 oe he ek ies | Oe e so Care teeta tpt as BL tel p gy Pd ote PaCS aa gen wes See ae = PUP ee ett ks tite ee TD Sa TT - o- ed Pees ‘Sy Sete = ees oe aay acyrale ’ * - «tt =~ See ee Peat wis Lh bY gt oF a 3 A = Ee ") te | te) i? wt a a — a ic # wa x A yeas Sar PG eo SEIS (AN te oa et ee) oe he Td) Se > Ppa yee aie “+ aT * ee Sg 3 o to ae el Sopa. = PP et hed tN fe ke ee) i an a al el Al ket ee fe ee ee - To ay Pr nar Sm oo te ES CeS ER ESE Sot 5 eee Ty ONS rupee My ee ee a ea a ree Lose uy ree rs fears ate te te oe ee et - Pees ce el\ \ i | } PA ae - THE PAGEANT 322 Wt ee se iain “we > ee) a ie ‘ py hi La eR. AS a | ett hl tet [ aw) mt . 3 uy G Par bey ak gh s ca. red pleat ie artnet 1 od elena iene} bbe a had ae Sey Thee gp ag ee ear «ie A ‘ x . ~ at aes, 5 C Le - ar F Sie % 5s etsy aree a eee oa Pd nl ~ Rll Tate = ep ETT vaca 7 eee ae be cad eA . As aie! aly DMT AREAL rte Tey s ¢ evi?) : - . * " a, See eee ee ter; > . , fo oe FD Sa dar i Me ats eed eed A> FRY eo = Cram and Ferguson, architects MODERN ame ec ad a Nd alee De ieee tho te hte et bi be Lenora Le kd ha tad at Cen + . a oT rigs ma a hie be. me A LARGER CHURCH IN COLONIAL Tue Montclair Presbyterian Church (No. 795) is a larger church of a similar colonial type. Its graceful spire is particularly charming, and the simplicity of the brick walls makes its richness all the more appealing. ~ Se ee — ~ at: iy a a Cee : 796 Eckel and Boschen, architects; photograph by The Pollock-Gilbert Co. = ss ete het te eee eh tare shea ellen chelelas eeetin oh tes helen since abe etn eo een nto kat Der tthe ott ad lee ee ee ee ty 25 FAR ee eS ek te a te te ny Oe a es ate eet oe ye A ~- tity a _ ike soe . aoe 5 REP EPA, IR pe - a eR, ae ht ed eke eran tan eo a No ee : f D - . ~— oe re ~ aX a ~t. P OF AMERICA A MODERN ADAPTATION OF COLONIAL Ir is only natural and right that the beautiful types of colonial church developed in the latter part of the eighteenth and early in the nineteenth centuries should exert a strong influence on modern American churches. One of the most interestingly original of modern adaptations of colonial church forms. is the Second Unitarian church in Boston (No. 794). A front of distinctly English feeling is combined with a parish house wing as distinctly American in its gambrel roof, and the two portions are merged together by a high tower whose rich steeple forms the climax of the whole. nd r ae east e J pf BY - ~ i - ree 1’ ee ba . ‘ Jolt: rahe tae Ch hy ht BOE e oe a AAs ay Seba) F ‘ Klaaats >" ira’ rel A ha verre iw in PPS $A fred a aed) 1 bers les 4 Carrére and Hastings, architects; photograph by Mattie Edwards Hewitt COLONIAL INFLUENCE IN A CHURCH INTERIOR THE interior of the First Presbyterian church at St. Joseph, Mo. (No. 796), is, in the main, closely inspired by colonial precedent, and gains, thereby, an effect of sure and quiet serenity. But the rather stiff platform, the choir gallery behind, and the all-over decoration of the chancel walls seem hardly in keeping with the gracious dignity of the rest; plaster vault gracefully curved, white columns, pews white and scroll ended, and rich organ front.i pe ul fae) Cie i e . 47 we Md af yd » Lee Pd J Ea i he Pe A Ul a A . , 7 . | ‘ Bet fa ie AS PA EY erp UJ '% a é Ae LD PV 20 Se bo fen oe Par, ia 4 L4G ? ‘ M ey " ue ita bees Pe LW a Aer PE el Sieg aoe 2 eh yh ALA Tah as 0 frget ye) j OF RIP eS aL TE mrp le fs be Jeo on Tt Da NSS hed EATS gape hg a SAS LY hay eet URL UPON ee ae CEPI IIT SVD oy, . es | 2 i 5 ; Ory ‘| Sol tab Xe ei " Ot A ee eae a Ae, i vihie 6: pe 8 6 Ja ee i re d : b rte ae fT td ee LIE ye el AI i pT Se Se fel Bee Ee se re Tacs ee Fee eos Rae Cee TE Ae ee ‘ We : ’ “ : ahd al THLE Re, . . : H Fi hae : J Ase jl - - tess bi Ls ‘ , wf + “ : J oJ ee a ARMA ats bt THE CHURCH 323 ~ ~ a Hp ss = eT rT Sa eM RDS ee Ra BECOMES a hina Neen nr tree tit DS bilan THE MODERN MOORISH SYNAGOGUE f\ Tue unusual and successful design of the Temple Ly! Emanu-el in New York (No. 380) early fixed a | ' tradition — due perhaps to Spanish or Portuguese influence, and found in other countries besides America — of some type of modernized Moorish y EoOR es Pera for synagogue design. Developed recently in ways extremely free, it has at other times produced build- jude tedos ings of almost purely Mohammedan type, whose oo 7 « appropriateness is open to serious question. Such is the Temple Irem at Wilkes-Barre, Pa. (No. 797), which seems stran gely exotic. eRe on ct . q, ees Ee j r 7 SNM Some wos Pl Se We > A v * mie ee ie rs . "|, _ f) ‘ Pe vy Sy r To ) we ae ws {ess — “ oh “ly , 2 xy “ -” SAW Ger el > > fmaa my 2 . : ~~ a Ty Pere f ! fe jay. . aoe s q Kon as r m [7 ne 5 i. . “* © A ~ 7 ’ — » a p Sg tent Mee i ore haere OF rt . tl es GEN ALS A aR eee eee ee ee ct i oa wes cfuat } ea i iia] pis Pee | e ae B a aaa aon Lier, : a fy ru sO PS ey in gS i ee F 797 Olds and Puckey, architects, © J. Horgan, Jr. ‘ \ os wr ee A MORE AMERICANIZED FORM OF MOORISH Mucu more American, much more modern, much . ee) ? ‘ =e payee ys ae Ansan) WER 8 a . —_ 2 ee pty aoe Pt ie ey eee TT more real in its beauty, 1s the interesting Temple B’nai Jeshurun in New York (No. 798). Its bold sweep of warm yellow stone 1s simple and most eftec- = pL ae EF 4 NGS cmos . t ei | aaa tive: and in the treatment of the doorway, set within al , peace its rich tall niche, there is just enough of the Moorish eA 4 a pete: Shoe vat 1 ; a r we ee = ae anit J - 2 - . : = aA Rae M ace pee ts en oy er spirit to give the typical synagogue expression. All a) a Lea a : f etd 5 53 oe So PMH Be RE ere FO 798 Walter S. Schneider, architect; Henry B. Herts, associated; > Arn: ic of > nodern character. eae oe Wurtsibrotbers the ornament is of the most mode 5 3 Ss s. 5 A MODERN SYNAGOGUE INTERIOR In the interior of the on fad 7.5 yr 5 yu teow Se et te Parts lel hal hot ed ed a ee ae ae es) i To ey Temple B’nai Jeshurun | |: 4 a : there is the same mod- : i Tea " ernistic treatment of | "oe oad i details, with a Moorish fale f | my 4 u touch; the same con- ‘Raman: | ay | : tf Cane “ centrated richness, the te = | Biner es i ae eT Pee same refusal to be bound Ny else Sd 4 ++} é ve to any style, and a I >t] ges anes resultant effect of re- ponaed at aa . . ‘ i J d * . “ ; oe we i y*T . | ey 3 ’ , I WW ff *h j ‘ m ‘ { 4 t r ef ad ‘ . a ‘hk y | o ase? 7 x Sit a | t } “od , aie 7 ‘ - 1+ + 7 ‘ AAR! by ASA 8 : a ll 8 F ; ° | oS Sir . ‘ Loyal Pes | 4 \ ul or} Me } : = —, - - a a \ ' fl Me ’ ‘ “= . strained power. | : Vd cabkew Heese) 4) aA Raad «| BGs Ny Aaa Ag a e T iat . ij ren + er ‘Sees “= De . - , ° ~ hs q Q ee Pee De Oph usenet ahha Saree 1 > ~ rs . ’ ‘ sy Si i SYS aA Sy oy eS ord ee ee ee ee ee Ta a i os - Teer ss 7 . i - aS “a i | oe ell a Aes he —— —— ry 799 Walter S. Schneider, architect; Henry B. Herts, associated; photograph by Wurts Brothers me Jteluuree’ df — =| ie tele h Og nt aeaie KARR, Py bet ak be detente loath | Boo Ohl eet P tLe ett a . ~— ] ry Sia ac Lala hat eaereaner AL Praswlney achat death ed ae lal i bebe Leh Medel ees Lee Se ee eee ——) Se ee TP em ee eens as. cs O hae a Cy A | a J = La i eel AD | ig ao ie a) ie #3 3 : a £;" te toe ae AT ae rs tee 3 aes 5 a . ee ad! 5. f ; ae if ry i iy Yi Pe oe ~ feast acbeh ii Ste bel hn kh hl weit Shadeland thd Tel i tat lee Wie detas d te We Dl ae a halen Seid. Yee oes Yo hen oe teat leads beet ek tte tae ee he Ie oe Cone ME Sh ot eh . ea eer ea ns ee = a i a eat ote ON th oe 5 a apt hg ark ie a . a a - Pe oe ee = ES oe A a = Ny ot ale et i te cP ; a mh 1 \5 \ { > om a 324 THE PAGEANT OF AMERICA bas er , + * =e 9 rp r ae AA el i as os ~~ ae as « a LT Serr ae a ae TPE 2 Ao a 800 Bertram Grosvenor Goodhue, architect; photograph by Kenneth Clark AN ALTAR OF SPANISH RENAISSANCE Tue High Altar of the Carmelite convent at Santa Clara, Cal. (No. 801), uses the richness of the late Spanish Renaissance, with twisted columns and broken pediments and rich surface ornament and figure sculpture, to achieve the desired result of dramatic climax. This is added to by the beautifully simple height of the whole, the picturesque lighting, and the treatment of the ornament which gives many mysterious glints of delicate light in the shadowed spaces. te A 9) i *> . - ts sd pa pee " J » eda “ane - ms y . ¢ . "re ~ * ci ” aevay WUC RAY ee : PES Woks a 8) SNA. es ea 1 ee | oe Te tr) Sy \ LJ my Hs ee tvs wide _ * J . J kaa ' A » * al of > Lf , (ihe _ ' ro ‘ae, G ) 4 n et : ‘ tos? . < ~_ LJ a J r _- bd Lm 5 tena = in 7 : aren | ——} - : : 4, ] a a * . Je? ee eed ay 5 > sci at H ~ aie 92 p : past = =~ 7 Uy a — nae ae oS * ne ent e - - a ah id ; 4 tab ‘ lee ie” aia our ? je 802 Bertram Grosvenor Goodhue, architect A CHANCEL RICH IN FORM AND COLOR Prruaps the greatest development in modern church design has been in the furnishing and the decorative details of the chancel. After a period of cold restraint —reaction against the often garish color of some church interiors influenced by Tiffany work and the work of Richardson — there has been a recent return to richness in form and color, due to the growing realization of the chancel as the focus of the church. The chancel of the chapel of St. Bartholomew’s Church, New York (No. 800), shows how beautifully the richness of mural decorations in color contrasts with the simplicity of rough plaster walls. * Pa tr ——e : Fs <> Oe — At. + ROTTS 4 2 Lor ree te tae al” ae { > a ee oo he a “EP ORT ceo eee dec EA ISS LT: : 25 mt tm ee | ° PD . i ee aid: 1. i i “ ; = ' 801 Maginnis and Walsh, architects; photograph by Gabriel Moulin A BEAUTIFUL CHANCEL DESIGN In the carving of modernized Gothic detail for choir stalls, pulpits, organ fronts and the like, results have been produced that seem almost final. The pulpit, choir stalls, and organ front of the chancel of St. Thomas’ Church, New York (No. 802), show how the extreme delicacy of scale, combined with great intricacy of form, based on various late Gothic precedents, but developed to a point that no late Gothic example ever reached, produces a scintillation of light and shade, a mysterious richness of effect, to which the austere strength of the stone church is an excellent foil. :OF gE a ee gt ear ee ie EET CEP ER PPO RE TRO TT ta 5 iti iit ior batt Ut ey Lalas ~~ * Net Re Cr krack rr) TSK eee Pe ey ee ep ek CeO E SEE Er eoeD Pe ae Lo rel atet ost Bok ot PPP nty tec ewe War to CHAPTER XX WV THE FUTURE OF AMERICAN ARCHITECTURE T first sight, the attempt to prophesy with regard to the future of American architecture may seem both futile and dangerous. There are so many unfore- seen developments that may occur in the American life of the future, and architecture 1s so completely based on, and therefore sensitive to, the entire character of our civilization that any forecast must be of the most tentative sort. There exist, however, certain important tendencies which have been increasing notably within recent years, but which are nevertheless manifestly incomplete. ‘Their fruition in the future can therefore be considered at least probable. The first of these tendencies is the growth of stylistic freedom. The day of the ‘revival,’ the imitation, of archeological forms, is gone. History is no longer conceived as a series of fixed patterns, a magic lantern show rather than a moving picture, and any sentimentalizing of the past is more and more foreign to the practical sense of the average man. Another reason for the growth of style freedom is the fact that more and more American architects are becoming aware of the comparative unimportance otf the entire question of style correctness. Artistic consistency is never ruled by dates, and emotional power in architecture can never be achieved until the larger matters of plan and composition have entirely absorbed and re-formed the details of architectural expression like moldings, columns, and ornamental forms which make “style.” It is precisely these larger matters of planning and composition which are most profoundly affected by new materials, new technical processes, and new social conditions. As soon, then, as plan and composition, so deeply responsive to the changing mechanizing of modern life, begin to control detail as completely as they should, style changes are inevitable, and true style freedom will arrive. Alreasly the tendency toward this atti- tude is evidenced in all the best modern work. This style freedom will not mean the necessary abandonment of all the forms the past has given us. It will mean freedom from slavery to ““secessionism’’ just as it means freedom from Gothic or classic. It will mean an attitude in the light of which all the modern discussion of styles, all the cries of the style-rebels and the creeds of the style- conservatives, will appear childish and futile. Forms which men have loved through the centuries will not pass away at the threat of a theory, nor will reverence for them prevent the creation of new forms. The questions that will be asked of the details of a building in the future are not, is it correct, is it old, is y new, but rather, is it a natural, inevitable result of its place, its function, and its material; and above all, is it beautiful, does it speak deeply to the emotions as all great art must? Another marked present-day tendency whose further development may be confi- dently expected is a growing love of the dramatic in building composition. We are growing away from that love of uniform all-over richness that characterized the days, say, of the cast-iron store fronts; more and more our buildings, particularly the smaller, less formal buildings, are designed with a growing sense of the value of the dramatic 325 wie hao Vy a es cot eee | Soe ree ee a | ky BUN ye PROP Cr Ee test ha » si. a eo Spee Hee Oe? ee ei eS eK TT I = Des a ry tie Bc ig ex m ae | mS BF i sf x iS x .~ Aa eS 4 a) oe ae = a Ax SIS 7 aes sort 3 FU OPS On Pd SiN PS ee oT 5 a 3039 3 ats te et OTe ure 0 Ge = S24 * te oe Se - 2a FON 45 7 e ae a 7. ee. a ee ee 2 a a Peper ee eee | arty Te hid ee TL lk ed td = TS oe OS Se ioe 8% S a ret . PA Stee ae ae F285 Se Dido toe ee {7 $e Q an y, he Pan a es ‘, Pa ae= ea deed Bee oie) a San Wane ek “ha eth aoe en eth Nanded Baht hiae in tase En ee tee SeBR eae i St ae you ma Penni x =e ok fa PAR re a bes dane secede Peller hth Rete Miah. Dende Det Neate Meta Tean od Petr ear i) om er te ata ts Z is . . er = 5a A ee ie We esky et 4 eae ited Soll tk) ae de “e e . az sett Onc re neice ahait ca (ited hie nee ates eae ar ret eit) ae Ry aece Spine = = i * . sett setae bogaelihas Lhomcg heh S22 La ie a De Dt ed teed Siebel ad eh } re 8 8 a ee yl : r Mies SIR TIT CR Car re aa at A a la A a ak aes 2 bs an) ee. * AR at ee oS te . S Ce eer! Ca CF aay Pea eic 5 Oger ol eine Ee aS Wiitnced ont, ay en oie ot ahaa el tak hh bt Doh - Sas - R eT ~- «ce Sed rie Pek Tees ait! fh Pe ea its x a aes . ie SS 5 * a = ; « bo + Ben « x Es Aa Se ys ke - \% 326 THE PAGEANT OF AMERICA climax. Plain wall—a simple texture of pleasant materials —leads up to a sudden contrast of rich doorway or a bit of intricate ironwork; restraint is balanced against concentrated and climactic exuberance. The fact that economy in building is increas- ingly necessary has undoubtedly influenced this development profoundly; it is a strik- ing example of the way economic conditions may affect xsthetic ideals. But there is more than mere economy in this movement; it is based on a growing keenness and subtlety in popular taste. This growing love of the dramatic climax in architecture has by no means reached its fullness; the future is sure to see its further development, which will add charm to our country houses, restfulness and yet excitement to our cities, dramatic and emotional power to the beauty of all our buildings. Another present-day trait, strangely mixed with good and evil, is our growing love of varied materials, varied textures and colors. ‘To-day as never before, brick and stone and stucco and wood and marble are boldly used, played with, balanced against each other. Harmonious variety in texture has been achieved with a growing sureness and beauty. Yet this same love of varied materials, together with some uncritical senti- mentalization of the past, has given rise to the greatest American architectural sin — our love of imitations, falsities, clever “‘fakes.’’ At a time when there is a variety of possible building materials never before obtainable, when sheet metal and drawn metal and wood fiber and rubber and an enormous number of different kinds of brick and stone and plaster, and a thousand other products of mechanical invention and chemical research have been put to use as building materials, each new material crying aloud, it would seem, for a new treatment suitable to it, each new invention a new opportunity for the artist — it is a strange fact that our love for texture and materials has forced us to make of all this newness merely fraudulent imitations of the old. So rubber is mar- bleized, wood fiber-boards are nailed on a wall in stone ashlar patterns, and there is ‘stone’ cast in molds, ‘‘stone”’ baked in ovens, “‘stone”’ put on with a trowel, and we even sometimes torture the loveliness of wood shingles into the exaggerated curves of a futile imitation of thatch! So deeply is this habit ingrained in us that one is shocked to dis- cover, in a building almost universally acclaimed as one of the most prophetic of modern buildings, interior steel doors elaborately painted with a careful imitation wood finish. Let us hope the future will change all this; that our architects will realize and meet the challenge of the new materials, and devise for them forms and colors that make them an architectural asset instead of a liability. There is reason to hope, at least, that all this flooding river of imitations itself has its source in a love for material and texture that, rightly used and rightly disciplined, would inevitably, and eventually will, end it. Somewhat allied to this love of materials is a growing tendency toward the develop- ment of local styles. Modernity has stretched its great ruthless form over the whole country; at one time it seemed as though only a drab uniformity would result. Three facts have combined to prevent this. One was that vague combination of pure tradi- tionalism, the type of the landscape, and the accumulated appearance of a locality that one can only call ‘“‘spirit of place.” Another was the fact that despite the development of cheap transport and the centralization of industries there are places where certain building materials are bound to be cheaper and more available than others. The third is the all important fact of differences of local climate. The first of these three facts has resulted in the development of modern colonial work along the Atlantic coast, and, to a less extent, in the development of the wide- spreading horizontal lines in the bungalows of the Middle West. In the East, thereir poe J ee Be Fy , "y pcre "4 TEA abr ll) eof 2 IC CkeP ELS aa ines hide § OPC ee) “Piya - > ete A “ Uae ; re tile Bey ¥ ) nln re Bre hee Sad DU ey IES oP IEE EAT A DP a Sa , a BSE I ar ak ean” Se AS 2 Fae DY RSA GPE RAIA Pd aie DAL is birt Sic a TO Dery tr pes ge PL i bo hy A Dace Pee pe se pe sl nt os yk cote Meat oh ate Wh Uy ase hai! Oy a py ook oh Dl ar es Lee Fa dey Te Phe. cee Bue Jaa i Mie, a SSC ie dy pee! PSE Wis ote Pt ir Saks ie Jo Petrie} ie Mase ba te ea | ere ty ol ; , eyed g f a tg? hat igly , - - J She / iS BU ie Se fame Sad DG a la at es Tl Peet eck an al es cae H rps ~ ae ef ae tials TRRC OPENERS ESE NE? EL OEP EP EPEPEE DROS PRET RON Crt itr ib orb aa. — = THE FUTURE OF AMERICAN ARCHITECTURE 327 are villages and certain parts of old cities where the years have placed their stamp so unmistakably that it would seem a crime, not only against tradition, but also against all the laws of zsthetic harmony, to build in any way that did not harmonize with the marked colonial atmosphere of the place. Archeological correctness is neither necessary nor desirable, but the magic of such localities — rare enough in America — can only be preserved and will be, more and more, as the public grows more sensitive, by keeping all new buildings in character with the old, by using some sort of modernized colonial forms. | The second factor, that of materials locally available, is strikingly illustrated by the stone houses of the suburbs of Philadelphia and parts of New Jersey. Here there is an abundance of stone of pleasing color that splits readily into convenient sizes and shapes, and builds into walls of great beauty. The result has been one of the few areas of truly native stone architecture that gives a remarkable charm of harmony and of textured color to the whole region. Such convenient local materials often give a distinct and subtle individuality to places that are at first sight much alike. The third factor, that of climate, is responsible for what is easily the most obvious of the local styles of America — the stucco, tiled-roof houses of southern California and the states immediately east of it. Traditionalism, the “spirit of place,” took part in this development as well; the two together rendered it inevitable, and the result has been an architecture so true to its climate and its landscape, so sensitive to the double tradition of Indian pueblo and Spanish conquzstador, that it forms one of the most vital modern developments that American architecture has undergone. = ws rr ea ine wae Sco ee a oT Te press iPSES ESS Bee FR a EL Ly tte Petar dh Melt Leet Seb tt ts err SAS AS 2 eo heya ee PUP se ROP tr nT te tare tee bs ke 0 hae eee! ta cok — ‘ we at wer 23 tae > py ee VE CSL Se Pele 3 Se KSEE But by all standards the most hopeful tendency in American architecture to-day, whose further development will produce its greatest triumphs, is a erowing sense ol form. This, after all, is the dominant thing in all great architecture. And its expres- sions in the great body of modern American architecture were, until recently, fitful, " a ye - yy oi evanescent, confined to monumental buildings, and even there conditional and cir- cumscribed. Our cities were becoming mere rows ot stupid boxes; all the architect a “3 Bat could do was to dress them in prettinesses of detail. Then came the zoning law into many of our cities, with its restrictions on height, its requirements for setbacks. Adopted purely as a practical measure, it proved a magic wand to set American city architecture free from its nightmare of eternal cubism. Suddenly a latent form sense and imagina- tion developed; buildings became interesting in outline and silhouette as well as in detail. Romance was born; piled masses soared into the sky that seemed to do some- thing. No longer was the high building apparently built by the mile and cut off to order, but it was composed, break on break, buttress on buttress; it began and it ended. City building ceased being rather drab prose, however polished: the possibility of poetry entered in. This encouraging development of the form sense 1s not limited to large city buildings. Its effects are already evidenced, for example, in the Kansas City memorial (No. 550) and the Nebraska capitol (No. 486). Eventually it will affect every slightest production of American architecture, for a people who have made the towered Shelton (No. 829) their own will not forever endure the architectural stupidity of the average home, the inexcusable dullness of the blocks of two-family matchbox houses, or the square barrenness of thousands of ugly farmhouses, or the overdecorated absurdities of the tenements and apartments, in which, all together, the great majority of Americans are now forced to live. ee IES He a wv eh Fess ag ee ee CP ed td ed de J a he ax) is ee ) ard 5 ne Roe 7s 24 5 ie Par 5) hi} e % Pa : : Pe 5 oa SP e544 2 9d 32 2x -ew bebe wie reel ta salem 8 - = i See FI) $f $e Sh 5 3S ¥ 574 Fo pee dh ee eT a a a al at 7 oo ai ’ cd ay £7 Fe - ey my a eT, es ) a ee ae et git eh ge ae Pe ee ee LS a emPein) og \ 7 Can Pe ree ssais SE DA eh F 328 THE PAGEANT OF AMERICA . Weise A MODERN EXAMPLE OF COLONIAL RE-CREATION Tue Knickerbocker Club in New York is typical of the feeling for historical style Lo Fea rie which is sure to characterize much of the coming Ameri- can architecture. It is recog- nizably colonial or Georgian of the later period, but nevertheless there is not a single detail which gives the impression of its being a mere ot en i a ay _ y vs . Ai) ea a barre ay Aan rela hoe Us laa eae eh ieal btata te ttl tate) copy. It is a creative varia- tion on the late colonial theme; with the refinement that is the mark of the style emphasized. — oe 7 LA} a ia CBr PS ee i" ep ae eae Delano and Aldrich, architects; photograph by John Wallace Gillies 00 CF Ww FREE USE OF STYLE IN A CITY HOUSE Equa.uy free and modern in its interpretation of a historic style is the house of Mrs. Alice McLean in New York (No. 804), which uses details of an Italian baroque style in a way simple, effective, and admirably adapted to their purpose — the quiet decoration of a city street. More and more American architecture will make use of such free adaptations and re-creations rs LP) os a i} ze BR, es be: Ue +: A ' £ : i | ES AY i ee | ee ie ea , ie a: bey i B} eae #3 Beis of style types. fine Castel a Cty Le a a hl ce ad raed lata . a . rt - A ; - “ms @ « 7 oo at L * % deter tte hahaa Neel daleel Ns Daaiden Ratha eh Re toe el te hn eet ele) a tet a ee oN at tee a Er te Fi Na a at a dD lta ied dan alah elt hah Wael Nad be nal Seen aa hes ~ . a od yr ee a) x ~ ~ 2 a . on - _ . ~ =e 7 o S * 2 m e - ib at 804 DeSuarez and Hatton, architects; photograph by Mattie Edwards Hewitt A CITY GARDEN IN THE NEW MANNER Tue garden facade of the Turtle Bay Gardens in New York (No. 805) is even freer in its treatment of historical precedent. With window frames of Vene- tian type, it combines a loggia whose proportions are modern. Charm and a certain dramatic con- trast of rich and simple have dictated the design in every part; historical considerations are secondary. Edward C. Dean, and William Lawrence Bottomley, A ar wieur 1a ehawn in | architects; photograph by John Wallace Gillies Another view 1S show nM No. 818. Co — © Fe OUR i te ee Le 2 ee Pos mash She pra Ry a a SC tae harsher Hi teed he SRE AS “tee . onTHE FUTURE OF NEW TENDENCIES IN A DINING ROOM THE dining room of Timber- line at Bryn Mawr, Pa., is recognizable as basically Italian in inspiration. Its use of wood paneling, how- ever, IS a new and modern touch, and the whole, with its rich painted frieze, its beamed ceiling glowing with color, its stone mantel, and its Italian furniture, is typli- cal of the newer style of American architecture, that, starting with some given emotional spirit, gives to it an expression that is not bound by historical accuracy of details. ‘ - x Cea ee tl me? 4 ns pe | PAL RS) fh Peja HARMONY FROM A REVIVIFIED GREEK BASIS THat a perfeet harmony may be produced by the combination of these two main style trends — eclec- ticism and style adaptation, and pure nonstylistic creation — is shown by this building for the Academy of Sciences in Washington (No. 808). inspiration is Greek, but every particle of ornament The basic has been revivified, recreated, filled with a vital symbolism, and sculpture of remarkably successful architectural type makes it all alive and interesting. Charles A. Platt, architect HORIZONTAL ACCENTUATION IN A MODERN RESIDENCE AMONG the chief exponents of the free type of design, Frank Lloyd Wright takes an important place. This view of a portion of his own house (No. 807) reveals the deep and quiet beauty that long, low, horizontal lines may give, and an emotional quality all the more real because its forms are themselves newly created. ie San -_—-—— el a. Jie She ee ae pes near) eros te Nis ee: ee ——— ———_ a * Be a a oa ~ " ox opr . va ~~. A ; | dale do: Pat Vek Sore Pe Bertram Grosvenor Goodhue, architect; photograph of the architect's rendering ar PA Le bud Pe me ey oy ei ria Std 5 + eel s 2 fl u - or SRDS ~ Ps * . Calo ber bee tae bee io ot bel é ~ are wa err rte tie rah g7 ee Po errs a~ Rasen Pearse ~ Rie rset U leignd 7 “ ee oar or] oo News - ee ey so EYP RE ARG hert ery teas ee a PRU Pe yk eT a) pee os bee eee St *® PR ree Pe ") _ re ~ hee es oh reas ye ots O st ry } rd ee) mod a » ‘ot oe 3 os a ia re 4 " >» gee ae ae a PS OY PSTD | ae = a a oN 4 al eg SS RS 2 4 S530 3 Sa 5-55 SUS Se Sn ee ed ee ’ oo a pT at) Lee ed oe ] Tyr - .« Se tai 5 ™ is ‘= Oe al hl Ld eo ms - oad band 5 q ¥4d525 Hie ee it reba - - oF es P ies eat SA a os ae ee Pv , j poone 5 ] Orr) j a fhe ; ‘ , es gtd! | . oe eo) i i, | P es | 4, Y g } ee 4 até ' | i ; SNe. fe 4 PAT OS | a 4 ‘ | ae < 2 : te ; s: ' if Fans by ' i. : oe 2 , f ig PAA SNS e Hey Has ; i Me: , Mee \ q: a i iy ix t i 1 F 7 i Chae AM neat a VEY RTRNS ae z Rf Hit) Fi * x Ee gs" LI f : i ae) f ; Wie Sk yy 2 ; iff ig Me re SN Be T > a , si? a ) ry ’ af i ae SR iM fe a ai ew ae We Sp -— : ae tie I 810 Bertram Grosvenor Goodhue, architect; photograph fe bat E Blt of the architect's rendering et \ f a ie i ! x “~ Ty “oN e | Lg THE NEW AMERICAN GOTHIC s+ 7 ° : = ay Tuese designs for the University Chapel of Chicago t ; iY F University show that the same merging of new ideas F: Ah Seo peers , } Ne with Gothic feeling is possible, and can produce a r. secpiatrencss whole of great beauty and originality. Great piled ‘ a : ‘ 1 eh sy eH ill masses of masonry, touches of sculpture, all in the a ee ay wut ae : . Jetr Ses Ee Sioa ah least stylistic manner, add to, rather than detract et tee 5 ae \ a 7 q e a . . a an : » ie SSS pee AM from, the Gothic feeling of rich tracery. It is Gothic, Uy Se matt ; u , . = ° : : - > oe Bape rittk obviously, but a Gothic which is purely modern, bce, A . os 811 Bertram Grosvenor Goodhue, architect; photograph yf 10s ee AP rede e a Ta aoe CT Cal et Ee I 813 Bertram Grosvenor Goodhue, architect; photograph by Kenneth Clark DRAMATIC EFFECT IN A DOORWAY Even greater dramatic climaxes are possible in the Spanish Renaissance style so popular in southern California. The doorway of the house for Herbert Coppell at Pasadena (No. 813) shows how effectively and dramatically the imaginative exuberance of the Spanish baroque doorway is framed by the broad expanse of simple unbroken stucco walls. AN UNCONVENTIONAL INTERIOR Dramatic effects can be produced as powerfully in interiors as outdoors. Indeed, the opportunities for dramatic interior design are unlimited, for American rooms are usually more conservative than exteriors, and in the future imagination and emotional quality must more and more enter into them. The conversa- tion recom in the house of Waldron Gillespie at Montecito, Cal. (No. 814), with its broad divans, its pool and fountain, gives some indication of the original charm that may arise. Cram, Goodhue and Ferguson, architects Mit Paes Ades, ne Bohl by et NW Yat Tretia! = Pate ot recy es ~ reer tarts ZErE - s CPSP ESTES eth hort ery Leda henge OAT SN IRS HES Fath 3 Se ee ee chy Pa] 4 aCe tO UT ae he RS oe ee ww 0 * crept < - ue Yu at ed gta yaa cae. 0 ‘od car 6 ’ (gt ee e E ad ey pay ee ys ere r EN & a a me he Pi a nd ie et) os id a dal en +4 J S 7 "> " a = o Paaniwey a = uJ fa) rs +t oe oe kad 5 en ie ee ee ee! el ht Pe ee Me 3 PD Pe te Se a 7 TPT ee ee oo PP ge Ye ey hay o Sf nlosntalocaieake * eeLvure 2s a er PI os phakic tr So= ae rs Ws, shat 332 THE PAGEANT OF AMERICA thet ok ber ete he tats eat ity THE DRAMATIC NOTE IN A MODERN GARDEN In a large garden the opportunities for such dramatic effect are enormous. In this terraced garden and loggia for J. P. Jefferson, in Montecito, Cal. (No. 815), the most was made of the opportunity. Here water, greens of all kinds from differing plants, urns, the shadowed loggia arches, and the inviting stairway give a sense of romance, of the mysterious beyond, that is exceedingly dramatic. This is architecture and gardening that together have an infinite power for suggestion, for liberating the beholder’s imagination. Teo ay oe —_

\ es oa ae - fe a . Ted gee ee ee en ye Sita pee a a hme at Ca ee. —— ory as te . te ; ‘Yea “ee i eae = ~ 5 Se Sore ae sae a js a 3 Pees ‘f iJ ’ a 4 i Pp Br oy ie t a j - Koo re ti. Le | Ate 5 ia fi Hes ere! | Ee i rf bt e E ei 4 4 Fe a E: i q £1 ie 7 e HP by ee 2 J * a” - i it ee ial oN at aes yi A 3 5, eee! 816 Arthur Loomis Harmon, architect AN EFFECTIVE CONTRAST OF MATERIALS Stucco is one of the materials coming into wider use whose treatment to-day evidences that joy in the possibilities of materials that is marked for still further development in the future. The house of H. W. Bell at Ardsley, N. Y. (No. 816), has a rough textured stucco wall made all the more effective by its contrast with brick arch and window sills. ay tien Tein SIMPLE TREATMENT OF AN ESTATE COTTAGE THE superintendent’s cottage on the estate of Major Clarence Fahnestock at Cold Spring, N. Y. (No. 817), shows not only this love of texture and color, of stucco B17 Lewis Colt Albro and Lovett Rile, architects and stone balanced against each other, but also the romance and charm that can be produced by the simplest means. In such sincere simplicity lies much hope for the future. ee te el ee ee ee eee) one me btn nes eth oto 4 Sen lahieth or hedkee ded te ba hddie thet et tLe . ; 2 APPA 25S eae Sere TS er tine shy ia i bt £ AY * edn eel bind eet ha tee hn at Baie a! bd ce, ~ hei a = te * ~ 4 tesort Py 1a ae 5 “ wre eee fea Srl ia ~ 5 ee le i Per toe top hit tt tal THE FUTURE OF AMERICAN ARCHITECTURE 333 7 rr * ROMANCE AND CONTRAST IN A CITY GARDEN Tue end of the gardens of Turtle Bay Gardens in New York displays a high degree of dramatic and_ personal TEES RBENEN HHS pean wr tart tit) » ry AS rte J RSSEES ie Sree} charm where one might least expect it—in a city back yard. As always, contrast is fundamental to it: contrast of C oi ad aad er wmiegs ss eS Lith stone path and green growing things, of stucco and iron rail, of plain surfaces and accents of rich sculpture. PRO ee a tr] eae he es eo rv rs D ae he * ’ fs ol ne SNe. : es F \ Fg 42 Ns ; a Pane! 4 Rohe) Pa g's tem aa PALS i eee POSE ty 818 Edward C. Dean and William Lawrence Bottomley, architects [= Pee etre Thay ay * 5 RN eer te te ORIGINALITY IN USE OF MATERIALS Tue court of the Cosmopolitan Club in New York (No. 819) owes the greater part of its distinction to its original and sincere use of materials. The brick- work, with its lines of narrow tiles, the flagged pave- ment with grass in the joints, the water spout, the little touches of richness in lantern and fountain all help the general effect. In the future, as here, sim- plicity will create true charm. mt ee 7 15 3 ‘ “i Ante ~ mS VEReE * Vere yeb a oy es . > Ae c% Y - a : = - FTA a eh Ow M AS G ait = “~~ : : = YO42 A +a te } $ ee = be " as 3 N ( A eo, <— a tie y+ 4 lcs eet Tae etsy ot Se Side Peta ARt feb eon ee aed ey POR Ed Woe JSS nl . Ee ee ced =] ] a ° -;" eee 8 ad 3 2° ~~ . s = . - OP et ok Et i dS 3 or, = See al! ri x — op - a ~J Pye ea : Sf ame pe ae ett ee —_— bd oe. ‘ . - oy — = .. + oh “ _ Cy ed Lt ae ee ed oe) er - . r = 0 ~~ efi 819 Edward C. Dean, architect; photograph by Kenneth Cl: A HOUSE IN A TRUE LOCAL STYLE Tuts residence in Germantown, Philadelphia (No. 820), we irk ee Ope oo ee Ad shows stonework of a smooth texture, and a more finished and sophisti ‘rated style. Yet the use of the stone in forms that are natural to it yields inevitably = ~~ ad r SAL sag 1 Pe ee ee ee a 1 a Ne ee : ree hy oe Fy eae Te i “ra ‘ ae Sed a house in the true local style. A development of such [iSxaisaRESEREESsoros cited ase nti es E . : “ : . . 820 Mellor, Meigs and Howe, architects; photograph | local styles is a hopeful factor in American design. and, Howe, architect = ‘eg “ar Ca te tds 1 ee a & ag ; cr oka g: gz i gz \ &- oe ars og ete M rR Boh e ~ Piette tet b TT 334. THE PAGEANT OF AMERICA weirose FRANK TREATMENT OF LEDGE STONE In the house of Noah Swayne If of Ardmore, Pa., it is the frank treatment of ledge stone and shingles, combined with the charm of simple form, that is prophetic of the treatment of such materials in the architecture of the future. This love of the qualities of materials is typical of modern American design. y Ky ne: 1 fe] AG Meare ‘= CNet ee ert eats . — woe aa oI ‘ bi La phe hte S hey aye Pa gr ee a Lala aniaat tea leet AL a + eh i aed eat ed eh eee ee Leh . iia ° ae Pe ae ra . _ ep ar, BR pe, Pa OL Be a tA 821 Mellvain and Roberts, architects A HOUSE OF THE STRATIFIED STONEWORK OF PENNSYLVANIA THE garden front of the house of Robert T. McCracken, in Germantown, Philadelphia (No. 822), shows the charm of the stratified masonry of this Pennsylvania stone, and shows how it can furnish the keynote for the whole design. The terra cotta urns on the garden wall, and the painted door merely accentuate the charm of texture and color of the stonework itself, for every detail has been designed to harmonize with the dominant material. NEWER DEVELOPMENT OF LOCAL STYLE Tue local school of Pennsylvania stonework bears witness to the growing demand that a building must fit its environ- ment so closely as to make the development of local styles necessary. Awbury, also in Germantown, Philadelphia (No. 823), shows how the characteristics of the local stone have fixed the character of the design and given distinction to the whole composition. Such a building seems to belong to its environment; it becomes as real a part of the land- scape as the great trees that surround it. Pe By i L LPP, an J . ae SS rf } Feo en vi ai: oe Yo 5 pt a [7 oe b | L a e* ae BS ae 6. mr: a a eee ak 4 H H ‘ ry f pI Pe Ai ~ Dy epee oe Fol ee Sor ~ in, + ¢ x “J Pe ) é S , he _ ar , ik oa . wv La ae alts Be Lys Nea te i cE a ar Vs ie PP ee canes Poly, i MTree tA oH r] Poe i WJ os. —— rm vole ven: ree ely, ROTTEN . Siakert ee lL SSE ie hers ‘ - ed we ERS Fil Parl ‘ ; a S 823 Edmund B. Gilchrist, architect Ch he Lot ee bh at | held Se ed heerlen “Wile tethtes Nen ate cia Delia Data Dental Weeden Yooh Jon hoes Fon eats ha el Dated ln Ni er alot Lael ee ited elintilon Nite Deen ek hie” te hen te hy tellin! = a PS aa - oak, ghey _ . 5 ie ae —" i ee or Sarr eae S A Ane 4 at be . . Ay atte, ja .. . pee Se e Sr AA Sie ar che inn fe = at oid a) tal. er FF A - = a ae te S, anise, Pre 5 OR Wolds A ey ar] ’ A F ‘ ry F ’ 7 i. Pre kae CP Rae sist ey nd De es ba etd Oy Pe ye ua ea Lea el Le y a] ra p ie ah 3 ee . ’ oan A " A ae ‘ a eee a) a bal ete Su kt Oy ae pk r ry i a ‘ r rh ve ; : Ce “0 Ppa eal ik de nde ed Fa YR D o F] es | Pores Sle BS ee ees Set fold re-post Be) poe ed Ww Lh hed f ‘ hee § Bal y atu PLE Ps we Or jae ISU Ii NU ILC ee Di uae Ak ea LP ROr de Jt A PUA Lae y i ; Ae ea 8 Hees ra Pe ‘ es | F H f F : oe R a . ie A a - Ay he a ./ af oe the Ph a te Ser po bee A Ae Py ae y ait th bee APs os ae i id . ' rt i ’ BI Aa MAI ET LOLs ASC Poae Po 8 ea acelin dead Dae Br Es 0 rei ye key ’ FH ERER URES SE SER LEC RE ORE ER EP Ho ee Pee S Cre TRON Ce ote urL i bei t tbat att i a THE FUTURE OF AMERICAN ARCHITECTURE 335 f - a a a Te ans aeNeeR eea GP a 7}: XSi wane ne } | A MUSEUM OF PUEBLO INSPIRATION | In the Southwest other AG it) influences and other ma- Nee er ert terials have developed a ps Stott Cos te Lh local style. The New Mexico Art Museum at Santa Fé, N. M., is a bold adaptation of forms se ete Regt nak = oy developed from Indian pueblo sources by Spanish Yes Sapient OR eS sero missionaries; and the eI ey BPRS Seen cay is P - : rayne a eaten pe OTT OST Soa toast beautiful way these forms 824 Rapp Brothers and Hendrickson, architects; photograph supplied by the Museum of ; . New Mexico, Santa Fé harmonize with the land- Pe aha Lat] See oe 5 ~e ee) scape and the climate shows the value of designing in the spirit and tradition of a special locality. i | ) ve = FAITHFUL ADAPTATION OF PRIMITIVE TRADITION ares 7 yr a, awh 8S re ee oe rune te reece it) . Tue beach cottage of Wheeler J. Bailey at La Jolla, Cal., is { e+ va al ha hh: ; t . i, - a nf af . Bs sate Re i ae ieee §=another modern expression of or. ae sO “ el ret ee ee pr the same tradition. Here in ladder and beams perhaps too consciously the crudity of a mI i # IG e ae ars a ‘sa i Oe primitive precedent has been of Aw a : PS On ee ee eh Pe Bray ae Pets et) eet eee Pel De) reproduced. Such closeness to precedent, however ques- ha See tionably artificial, bears wit- i ness to the strength of local J tradition: and _ sensitiveness -_ 4 to toward site and tradition is pp at the very basis of all true ~— sg ee de Py a ") 4 local styles. as “8 alee a 5 Re - Sas * a he 4 7 * OP ed te) A NEW VARIATION OF SPANISH TYPES Even more typical of the local style > a S e 3 er -* 5 ea pe * of southern California, founded on Spanish Renaissance and Spanish a] mission types, is the residence of W. T. Jefferson at Pasadena, Cal. Here tile roofs, rough stueco walls, =o and a rich baroque door are used in Pet So - * eee a way that is in no sense a copy a of any past work, but fresh and dramatic and original, and yet in eS ce RO 4 . is wi 5 Bove £ Be eS) aK oe 2 y Fs 4 a Pte monroe . the most harmonious accord with f fipeeeQ@so> Melis’ MAR ihaat! Ceci, . ere 4 } , é / a, Y. the climate and the traditions of its rs — site in other words, in a neces- ; sarily local style. i WRT atau nen ae q BOL LSENE Eta) bdo AePoee te eerie. Sua ed begite rene ete * ots | i 826 Marston, Van Pelt and. Maybury, architects; photograph by Hiller 0 rs 7 G # - - S ed ° te . J ht oe Oe So ome eS Ae te oe SRS oe A oe Wye Be he aa oo te S45 Se ie Pe at el ee ee ee Pe ere eg a et Ake ee to PRD hy * . ~1 Ht: WU Rie ; Beene tonty Meee teehee ving tel dete Eh el ee he . Pe bl Lt Leelee mn ae” a \ a eds nt hd Lt ie thd os Vie ta Poet? Sl oa o oI a] - Ae Poe far oA eo ee oe 5 Se ee ee bl et pt PON LS op (ates Port late phe athe ec LS SLL | bed ure * = p i ,~ * ee pee a oe, ae 1 ees co FK ho Pi ; 5 « i a Ps - Lhe - ay Se dm aaa art crn Le Pett ve Sak he me SOC PS Cer fee Son a A a a a te bi athletes ae aca ed hea tama Una S ae Sea er eto” Aaa a a zs a Bee es re . Pee as Oe ae ee cia = & a a ee ~ « SS . a ear he POT ee oR ee A oe ee ee . “ od ea AR OS ee ae Che! ars Shs tact Se kid arise hiatal a a tale Lae lactic ele lb nant ond or Peel aden ohare eee A arr Se p bog LS ra Sa es p 5 Sy So- iy S SE ied Norte & 5 = in) > - - .- + 4 . a “de S . ~~ bre : ~ ru 5 ia) Ps is THE PAGEANT OF AMERICA 336 A DESIGN BASED PRIMARILY ON FUNCTION THE growing sense of form in modern American archi- tecture, which is, for the future, its most important characteristic, is shown in so many modern buildings ° fs vs en ee ora ~ papier cise 28 that choice of examples { ip —— one pny = aa sees - ee Sea apd ie a <7 2 Be i pee Nee pS eee is difficult. The Edward [Biba emia peaiecekerrce S580 AT tr eS : Smith School at S Sy racuse, 827 James A. Randall, architect INS. 1s an outstanding example because the interesting forms which constitute its greatest beauty are directly and inevitably and frankly developed from the conditions of the problem —a one-story school — whose functions are so surely expressed. Style plays a secondary réle in such a design. | CAREFUL DETAILS WHICH FORM AN | EFFECTIVE WHOLE Tue beauty of the Court of The Ages (No. 828) at the Panama-Pacific Exposition in San Francisco expresses both the modern trend of style and the growing mastery of form. Here every form and least shape adds to the vivid and vital gayety the expres- sion of which was the emotional purpose of the design. The beauty and the power and the freshness are the result of form composition; the style is effective not primarily because of its newness, but because each detail is perfectly fitted to the form and purpose of the whole. Ca ee Te SPT eefen a — R S vi ots , Ce ert ti. melee “es , Ps f et if Cie ree i sated nd al : | B 2 | | i a3 | | aoa i " | | ay, ; 5) " al ath er a i 3 3H 828 Louis C. Mullgardt, architect; photograph by Gabriel Moulin ait 4 sf - Bolt Bia 4 A MODERN TYPE OF RESIDENTIAL te anise a HOTEL ia gap) ~ + r 7 E tA eo ¥, . v Ty Tue Shelton in New York (No. 829) sums up in etl ia Tes Fania : Med Po} See et ee oe ye itself a remarkable number of those trends whose me). Pe tals sy 7 ! as Pete soar!) | development will be the making of the American fey f2. ee S| 5 : Be 3 une tb) architecture of the future. There is style freedom ie nia Beri meee 3-020) 15 : : 2 : : : ee |” a ie Per Faeidesdbe Ht in the detail of Néo-Byzantine character; there is want a 9 3] 144 : i. Pues 3 |. interesting material treatment in the brick walls, and Ie a : ‘ 3 Salty there is romance in roof gardens, and in grotesques. 13 th digg shale But above all else it is form sense, form composition 3 i 4 ; a ae which makes the soaring masses of this tower so [RM ‘qari = | a vivid, so exciting, so prophetic. With such a sense of form as the dominating background, the city of the a) See : oT oe . * . . ‘ . “an re a i eal bs “a | ey eS Ne ee «tbe ae at Mca future will be vital, romantic, imaginative, beautiful. g99 arthur Loomis Harmon, architect: Sa by Sigurd Fischer7 re Pre ,4 OA Pe TP DO Pel by 34 ed. db UPL "| . ae Pe r} 7 s i RAPS Peete OT bal bod bt et Pee Ee ee bree be ars = ” THE FUTURE OF AMERICAN ARCHITECTURE 337 BUILDING HEIGHT RESTRICTIONS re ES A Se S | EVOKE A FORM SENSE Sen eae rae ae Fe : doa rts wr saan Tus group of three drawings shows admirably how [<, sox Soeth Sar RE ae = | the height restrictions of New York lead inevitably |i, peckon ee a ve e to the development of a sense of form. The first cae Sas Sie iE (No. 830) is the maximum amount of building allowed , ‘a as Dae 4 Ss yt, ar by the law in a city block, developed from the law itself, with but slight regard for architectural ten- dencies. The second (No. 831) shows the same jas : - xf vi Nae r+ a = ae , ho: “~ ei Clee wr : pert “ s building after courts have been cut down through it | to allow the lighting of its great areas. The third (No. 832) shows the same form with the sloping planes replaced by setbacks occurring at two-story intervals. Already, with such slight modifications oT Sean) Vga ESN Bee ye} Vs oo from the maximum allowed by the law, the powerful mie Na Wee re ewe form composition of the whole is beginning to be s -t = evident. Here the question of style is secondary; the PR Ot et: er | SEU ke kt effect is an effect entirely of form composition, that results inevitably from the restrictions of city build- SU eo ing. It is interesting to note in these drawings that the frank treatment of legal and practical = RA Peete Te Pett eee ee nye demands leads without effort to forms that have | not only architectural quality, but even a strange CJ beauty of their own. They thus alike reveal the | eee pea task and the triumph of architecture: to create from, and with, practical necessities a beauty that ns , The ee ' __ or : lh ot a eee] ee dd ‘ Pd ‘eos. ay te Me : “ ) “32 pes Dt BS ed s; photograph by Wurts Brothers a eee hes 830 Fromastudy by Hugh Ferris is an inspiration. - J - a] 4. . et ae] a oe 5 = ae. * 4 . = aed APRS + a ea ze “ BAAS Ne TANTO MAVENS RSP baer ad a iat Tl el ] ” . P= ae es | i be — > : _ aS os25 PN td A cod a eer. Ue ion ce tee tore roe! “5 Pas © “4 3S Se ey See oe rater ee “are ah 2 Ee ake 6 oe PA eee — . a > 3 mrss Lie at er Ss A seem e << bi 4 ~ ro 7 r P yon ee po t" ie e 9 a ‘ - é ws , ee oe Fs ; Prt oe er riiaiemegimadea’ ioe * Petre tt garni Cs, Peat 831 From astudy by Hugh Ferriss; photograph by Wurts Brothers 832 From astudy by Hugh Ferriss; photograph by Wurts Brothers eet oe © 7 ea ae ae : pee ae aT oe ee 257525- eye ae Pe Sa el ee de Pd a ed hd ed ad Le f rt Ge eo chek gen gO1 \% SRM a Mera SPT hrs re toi 4 BE 4, ye NOTES ON THE PICTURES municipal purposes; famous spiral staircase, 6. Original engraving appears in the German edl- the work of Asher Benjamin, was removed. tion of de Bry. View of Jamestown is the first | ee > La 4 Ce 5 Lae 5. Lem x Ut) fr. ax fs a . J Dis ie “. ie i ior, ee is Bed ye er re i ie Le F oe ay a I roe ma ‘ that is known. For a discussion of the James- 222. See 68. town view see Volume I, page 189. 224. Artist, an Englishman, was an amateur who 9. Engraving is ae an original drawing in the painted landscapes and made copies. | British Muse um by John Ww hite, who went to 225. Artist a good scene painter who came from a Virginia first in 1585. London in 1792; the edifice was originally in- - 10. Sketch of Indian habitations is by Samuel de tended as a residence for President Washing- ae Champlain, who in 1604-07 explored, surveyed ton, who never occupied it. It became the ee and charted the coast of New England. The Governor's House and was subsequently used P site of Plymouth he named Port Louis. for a customhouse from 1799 to 1815, when f 11. House demolished in 1921. For a technical it was taken down. i description with elevations and floor plans see 226. Wall, born in Dublin, came to New York in ie Old Houses of Connecticut, New Haven, 1923, 1818; painted landscapes and pictures of Hud- Oe Bertha Chadwick Trowbridge, editor. son River scenery in oil and color. re 15. View is conjectural. 236-237. Howe sketched many views of places on i. 16. Walls were completed in 1615, the roof in 1623, the spot, traveled through New York, New ee the towers not until 1791. Jersey, Virginia, Ohio and other states, making ie 28. The standing figure in the foreground is that drawings that later appeared as wood engray- ie of the late A. F. A. Bandelier (1840-1914), ings in his various Historical Collections. ae the archeologist. 238. Scenes in Meyer’s Universorum, according to a 40. For a technical description of this house with prospectus for this work, are by artists who bo elevations and floor plans, see Old Houses of ‘“‘explored the most romantic regions of this es Connecticut, New Haven, 1923, Bertha Chad- country.” Engravings signed “Drawn after ig wick Trowbridge, editor. nature.” h 55. The earliest view of the Province House ap- 239. Drawing by English naval officer who traveled Bt pears on the Burgis view of Boston, 1723. through Atlantic coast states and Ohio and f Building was used by the state until 1796. Mississippi valleys, in 1827 and 1828. on 67. House stood until 1867. See Volume I, Notes 252. See 160, 161. fe on the Pictures, No. 536. 253-255. Engravings originally appeared in The i 68. Artist, a Frenchman, visited the United States History and Topography of the United States, ie about 1825. Drawings of scenes faithful and London, 1830-32, edited by John Howard is reliable. See 222, 294, 425. Hinton, A.M. See also 268, 270, 282, 300, I 74. House received ‘0c name from the tradition 302, 314, 315. a8 that it was occupied and fortified by Nathaniel 291-292. See 236. fu Bacon in the Virginia rebellion of 1676. 294. See 68. a 151. Drawing done by an English officer during the 308. Artist a well-known painter of historical sub- Me Rev olution. It has internal evidence of having jects, associate of the National Academy, 1847. ee been done by the same hand that drew the 304. See 238. A picture of the field of Bunker Hill, reproduced 321. Work is similar to Meyer’s Universorum (see Pe in Volume VI. 238) and published under the same imprint. i: * 160-161. Accurate view by English miniaturist who 322. See 236. f settled in Philadelphia in 1794; engraved 337. Artist painted life in the Mississippi valley, ee series of plates of views around Philadelphia engravings after his originals having a popular a and of country seats in the United States. vogue. Ae 164. The Hall as photograp yhed has been changed 339. Location of the scene of the sketch is Wolf’s ( ! very considerably since 1776. Point at the fork of the Chicago River. George ee 212. Bartlett was an Englishman who made four Davis was a schoolmaster in 1834, and city ‘a visits to America between 1836 and 1852 clerk in 1837. i Illustrations appear in American Scenery, 1840, 345-347-348. See 238. ob and in Canadian Scenery, 1842. 346. Artist descended the Mississippi River, making Bie 221. Connecticut legislature held its last session sketches en route which were afterwards pub- ie here in March, 1878; building then altered for lished as lithographs, printed at Diisseldorf. oh 338 yo Rte het = ~ Sh ae = bePLP ed ere as hayes RA LEL OTIC a! Peet Fo KS Pe Ae a) ey ee Tee a Phy Ped OL Doe Pe at Ba Bo hata Bye Fj 4 fe) A ya a aru oe! ee TD a aa J F vad Pe UR Dy Pie, rae rt aa) bas Pk ale Le RC I Bo oe Pe | PUP are Ae ee US an a , cnt ar Pir. ! ¥ a ll JA, ; INDEX Titles of books under author are in italics; titles of illustrations under architect or other producer are in quotation marks. AsBey, E. A., murals in Boston Public Library, 216. Absinthe House, New Orleans, 90. Academies, 238, 242, 245. Academy of Music, Brooklyn, 301. Academy of Sciences, Washington, design, 329. Acapulco, view of harbor, 19. Acoustics, in theaters, 298, 303. Adam, Robert, Works in Architecture, 65; style, 92, 93. See also Roman style. Adler and Sullivan, “Auditorium Building,” 177; “* Wain- wright Tomb,” 224;- “Entrance to ‘Transportation Building,” 233. See also Sullivan, Louis H. Alamo, view, 24. Alamo National Park, N. M., old church, 22. Albany, N. Y., Dutch church and house, 38, 39; Schuyler mansion, 68; Academy, 104; Court of Appeals, 172; capitol, 178; Plaza, 193. Albemarle, 267. Albro, Lewis C., “Bushnell House,’ 268; ‘“‘Estate Cot- tage,” 332. Albro and Lindeberg, “‘ Westchester Country House,” 264. Alexander building, 199. Alexandria, Va., Masonic memorial, 229. Allen, Arthur, house, 43. Allen, F. S., “National City High School,” 244. Allen and Collens, ‘‘ Union Theological Seminary,” 249. Allen Theater, Cleveland, 306. Allerton House, lounge, 292. Allison and Allison, “Glendora School,” 245. Allyn house, 16. Amerwan Magazine, 38. American Magazine of Useful Knowledge, 35. American Pioneer, 141. American Radiator Co. building, 197. Amherst College, early buildings, 133; fraternity house, 292. Annapolis, Md., colonial houses, 80-82; state house, 80, 89. Apartment houses, types and designs, 281, 284-287. Apthorpe house, 64, 69. Archer, J., ““Tremont House,”’ 131. Arches, triumphant, 225, 235. Architecture, memories and echoes of home types in colonial, 1, 10, 11, 15-17, 27, 30, 32, 33, 35, 36, 42, 51; first colonial houses, 1; log cabins, 2, 139; colonial Georgian, 3; Spanish-American, 3, 18; effect of new nationalism, Roman period, 4, 92, 93; Greek period, 5, 124, 125; disruptive period and decadence, 5, 140, 150, 151; clipper ship, 6; new materials, industrial demands and spirit, 6, 124, 125, 188, 201, 256; cultural develop- ment and renaissance, 7, 8, 165, 166; Romanesque, 7; return to classicism, 7; eclecticism, 7, 200, 201; future, 8: and sectional cultural development, 9, 10; Dutch influence, 12, 13, 36-39, 64, 66-68, 102; northern co- lonial expression, 27, 28; Swedish detail, 39, 40; of colonial South, 41, 42, 79, 80; influence of commercial development, 50, 51, 64, 92; literature in colonies, 50, 51, 64, 65; softening of Puritanism, 51; colonial builders, 339 51; in colonial Philadelphia, 64, 65, 70; individuality of New Orleans, 80; divergence from English, 93, 108; French influence, 93; Georgian survivals, 93; develop- ment of personal expression, 100; helter-skelter, 107, 151; influence of city of Washington, 108, 118, 122, 123; Jefferson’s influence, 109; early professional, 109; re- vival breeds revival, 125; broadside on school (1813), 126; Egyptian, 136; effect of frontier and expansion, 139, 140; influence of expositions, 165, 166, 221, 232- 235; establishment of American, 166; specialization and standardization, 179; common American ideals, excep- tions, 179, 186; periods in memorials, 219, 220; phases of collegiate, 236, 237; phases of school, 237; problem of industrial buildings, 255, 256; rural houses, 262; country and suburban houses, 262, 263; city houses, 263; gardens, 272, 328, 332, 333; hotels, 280; tenements and apartment houses, 280-283; hospitals, 282; country clubs, 282; city clubs, 282; development of theater, 297, 298: church, 309, 310; tendencies: style freedom, 325, 328-330; dramatic, 325, 331, 332; varied materials, textures and colors, 326, 333; local styles, 326, 327, 333- 335: form sense, 327, 336, 337. See also classes of buildings, elements and styles by name. Ardmore, Pa., Swayne house, 334. Ardsley, N. Y., Bell house, 332. Aristocracy, colonial, and architecture, 3; colonial northern commercial, 3, 51; development of southern, 9. Arizona, mission, 24. Arkansas, capitol, 203. Arlington, Va., Lee mansion, 112; Amphitheater, 308. Art Journal, 156; on Gothic house, 153; on porches, 158; on interiors, 159. Ashland, 110. Assay Office, New York, 123. Astor Court apartments, 285. Astor House, 1382. Atterbury, Grosvenor, “Phipps Tenements,” 283. Auditorium building, 177. Awbury, 334. Bacon, Henry, “Lincoln Memorial, Washington,” 220, 230, 231; “Lincoln Monument, Lincoln,” 224. Bacon’s Castle, 42, 43. Bailey, Wheeler J., beach cottage, 335. Bakewell and Brown, “San Diego Station,” 213. Baldwin, L. I., railroad station, 213. Ball, John, Antzqurties of Constantinople, 65. Ballston Springs, view (1840), 131. Baltimore, Bank of Baltimore, 132; views showing de- velopment, 184, 186; Y.M.C.A. building, 292. Baltimore City Library, material from, 184. Balustrades, in colonial houses, 35, 52, 54-56, 68, 72, 84; later, 94-96. Bank buildings, early type, 114, 188; modern, 190-192. Bank of the United States, building, 114. Banner, Peter, as architect, 93; “Park Street Church,” 99. Barnes, E. M., farm buildings, 273. Pi Pa I UA oe dy LPS Pe ea PRIEST ANE rh tly SRN Res eek pg ee ed PP ees : 0 a . ? 5 re FRE DERU PP Oe SER PLCR EE Prone Op i thar Lid vin, eee tt. Wat FRPESG ESE EY ee eee et te ie eee Ca iP Rs aed tear athe at 74 ~ 4 eam tar PRS ee Aa tee ppt eu reRa a Rte tLe tt Are ee ot Poth ae Maree Pe , oJ ts es “3 . af ~ C "7 Ta oe ae a = > SE La a eos EP ene ta ena aORtaS: | pte PF, w- ~ =. . 5 ay dS" f e yy > Dae Ce te id ee ee ee ee ee , pe ed ad eet ere Hf Pye re pe Pe oe) Pe , fa — -« rei Pd 7 Pe "eto as a ee ar ed te Ate) “ Poet ba id i e : ee} Pao 4 sS ha oa a ao | re s x | a A ¥ : a ~ [ 0 a re “wt oo J > 2? x eee Pere eee gd eh) Teh ae Pe . = SS“~ a i. , ; ert bat merit Nd a an ei ie eh ak aed Ue oa ben hel eeteate Ten Boas ceo xe : od carte sr hse : Qyapele setae, - . aes O = Pk] " bet abetted ie koa ID tg ts ehh kde erred re ah ~ Ne Ps Nee ait et el ett ee Es o . ~ od = se 7 Pe Tee x a ey . ‘ UF Sets ee ee an Fs Mites et, 3 hace tas s Pla abl eal dc ahh Sa a eh a ar ie cre ee ean eee TN TT TERT - 4 ik, Tit er - ™ tag | i aes: “ - CY tine dae are th MT. ess - eo 2 su et EF pat Sg x Psi are & St ees Ste ae ee ee ae ar ae ~ ae De st aah lar ita shah tel deere dethon Yen wl dhe cen ee den onan ae rat oat none hed bee Le caer a- a _ son Ty . ee = = ~“ 7 ed nT) a ee * . - ° ~~ ye. ~ he Ss 340 INDEX Barnes house, 265. Baroque, in Spanish-American architecture, 18, 23-26, 331; Georgian, 53, 54, 72, 73, 77, 83, 103; in modern houses, 279, 328. Bartlett, Paul, ““ Duluth Memorial,” 227. Bartlett, W. H., “Main Street, Northampton,” 98; ‘Federal Capitol,’ 121; ‘‘ Ballston Springs,” 131. Bartram house, 64, 65, 72. Bates and How, “ Pratt House,’’ 264. Bath, Me., Gothic churches, 156. Baum, Dwight J., “Baum House,’ 267. Baum house, 267. Baxter, Sylvester, Spanish Colonial Architecture, 20. Belfries, Spanish-American, 21, 22, 25; colonial New Eng- land, 35. See also Spires. Bell, H. W., house, 332. Belland, A., “Potter Building,” 177. Benjamin, Asher, Country Builder's Assistant, 93; Greek style, 124. Bentley, J., “Capitol,” 121. Bernardsville, N. J., Somerset Hills Country Club, 291. Bewdley, Va., 46. Biddle, Nicholas, Greek enthusiasm, 124. Bigelow and Wadsworth, “‘ Weston Town Hall,” 207. Billopp house, 38. Bingham, George Caleb, ““County Election,’’ 146. Birch, William, Views of Philadelphia, 77, 114. Birch, W., and Son, ““New Theater,” 299. Birmingham, Ala., airplane view, 186. Birmingham, Mich., Baldwin High School, 244. Bismarck, N. D., capitol, 164. Bliss and Faville, “Palace of Education, Panama-Pacific Exposition,”’ 235. Block houses, 2. Blodget, Samuel, “Bank of the United States,” 114. Boardman “‘Scotch”’ house, 31. Bogart, A. B., “Clark House,” 276. Booth Theater, New York, old, 300; new, 304. Boscawen, N. H., public library, 215. Bossom, Alfred C., “‘Seaboard National Bank,’”’ 191; ““Charlotte National Bank,” 191. Boston, Old Feather Store, 28, 33; colonial houses, 32, 35, 56; Province house, 34; colonial churches, 35, 60; old state house, 36; Faneuil Hall, 62; Park Street Church, 99; new state house, 101; view (ca. 1825), 102; Parker house, 129; hotels, 131, 172; Trinity Church, 173; museum and library, 174, 216; Bunker Hill monument, 219; colonial gravestone, 222; warehouse, 257; theaters, 299, 302; Second Unitarian Church, 322. Boston Public Library, building, 216; material from, 299. Bosworth, Welles, “Massachusetts Institute of Tech- nology,” 253; “Garden Theater,” 272. Bottomley, William L., ““Turtle Bay Gardens,”’ 328, 333. Bowers house, 127. Bowery Theater, 135. Bradstreet, Simon, house, 33. Bragdon, Claude F., “Rochester Station,” 212. Bravura, in Spanish-American architecture, 20, 23. Brazer, Clarence W., “‘ Landsdowne Memorial,’’ 227. Brenton-Coe house, 57. Brewton, Miles, house, 85. Brice house, 81. Bridgeport, Conn., Seaside Village, 274; apartment house, 287. Bridges, modern, 209. British Museum, London, material from, 20, 247. Britt, Iowa, school, 241. Broadmoor Hotel, 291. Broadway Tabernacle, 134. Bronxville, N. Y., Pratt house, 264. Brooklyn, churches, 152, 319; Collegiate Institute, 240; warehouses, 256, 261; Academy of Music, 301. Brown, Bedford, IV, “Q Street Bridge,” 209. Brown, Glenn, United States Cagitol, 122; “Q Street Bridge,’ 209. Brown, H., “Federal Capitol,’ 121; ‘‘Dartmouth Col- lege,” 248. Brown, Lathrop, house, 279. Brown, Mather, “Charles Bulfinch,” 100. Brown, Robert, Countries of the World, 148. Brownstone, as building material, 151, 157. Bry, Theodore de, Grands Voyages, 13, 15. Bryn Mawr, Pa., Timberline, 326. Buffalo, city hall, 160. See Pan-American Exposition. Building materials, colonial, 10, 51; imitation of brick, 70; of disruptive period, 151, 152, 157-160; experi- mentation, 166; terra cotta, 171, 197, 286, 301, 303, 304, 317, 318; specialized producing communities, 179; steel and glass, 199; problem and expression of steel and concrete, 201, 256; tendency of varied use, 326, 333; faked, 326; local, 327, 333, 334. Bulfinch, Charles, as architect, career, 93, 100, 109; and Derby house, 95; portrait, 100; “First Church, Lan- caster,’ 100; “‘Boston State House,” 101; “‘Old State House, Hartford,” 101; “‘Pennsylvania Hospital,” 105; and federal capitol, 121, 122, 202; Greek influence, 124. Bull-Pringle house, 85. Bungalo type, 326. Bunker Hill monument, 219. Burford, Robert, Description of View of New York, 181. Burnham, D. H., “Illinois Trust and Savings Bank,”’ 190; Railway Exchange Building,” 194. See also Burnham and Root. Burnham and Root, “‘ Masonic Building,”’ 177. Burt house, 127. Burton, C., “Arcade,”’ 114; “Department of State,’ 120; “Bowery Theater,’ 135; ‘“‘Council Chamber,” 135; *“Academy of Natural Sciences,” 138. Bush Terminal building, 196. Bushnell house, 268. Business buildings, Dutch West India Company’s house, 12, 13; colonial, 33, 69, 76, 77; early national, 102, 113; New York street (1858), 157; Chicago street (1870), 161; of disruptive period, 159, 160; of revival period, 171; development of sky-scrapers, types, 176, 177, 189; inspiration of modern, 188; store types, 188, 199; modern office buildings, 193-199; interior, 196; com- munity store, 274. See also Bank buildings. Byfield, Mass., Dummer house, 52. Byzantine style, ornament, 304; in churches, 317, 318, 321. CaBILpo, New Orleans, 91. Cabot-Endicott-Low house, 53. California, missions, 25, 26; railroad station, 213; edu- cational buildings, 244, 245, 253; hotel, 289; country and suburban houses, 271, 331, 332, 335; theater, 307; churches, 320, 324. See also Los Angeles; Panama- California Exposition; San Francisco. Cambridge, Mass., Eddy memorial, 223. See also Harvard; Massachusetts Institute of Technology. Campbell, Colin, Vitrumus Britannicus, 50. Campbell, D. A., farmhouses, 272. Campbell, Patrick, Travels, 143. Campus Martius, 141. Capen house, 28, 30.INDEX Capitol Theater, New York, 306. Capitols, colonial state houses, 34, 36, 63, 65, 77, 78, 80, 89; early federal period, classic type, 101, 103, 115, 122, 123; federal, designing and influence, views, 108, 118, 119, 121, 122, 202; early western, 107, 144, 149; of mid-century period, 164; and revival of classic style, 166, 178; of revival period, 178; type, 201; modern, 202— 205; interior, 204, 205. Carmel. See San Carlos Borromeo. Carpenters’ Hall, Philadelphia, 76. Carrére and Hastings, “Cunard Building,” 195, 196; “Liggett Building,” 196; “Alexander Building,” 199; “Portland City Hall,’ 206; ‘Approach of Manhattan Bridge,’ 209; ‘‘Century Theater,” 302; “Arlington Amphitheater,” 308; ‘Montclair Church,” 322. Carson College, 246. Carter, Ellis, “Burt House,” 127. Carter’s Creek, Va., Fairfield, 42, 43. Carvel house, 81. Casa de Los Azulejos, Mexico City, courtyard, 20. Casa Flores, 271. Casey, Pearce, “Interior, Library of Congress,” 215. Casey, T. L., Washington monument, 225. Cast-iron, as building material, 151, 152, 158-160. Cathedral of St. John the Divine, 314, 315. Cedar Rapids, Iowa, St. Paul’s Methodist Church, 321. Centennial Exposition, artistic influence, 151, 165. Central Park, mid-century pavilion, 163. Century Club, New York, 171. Century Theater, New York, 302. Chamberlain and Whidden, “ Boston Storage Warehouse,” Q57. Champlain, Samuel de, Voyages, 15. Charleston, colonial aspect, 41; colonial architecture, 80; Bull-Pringle house, 85; view (1762), 86; churches, 87; Exchange, 113; Charleston Hotel, 132. Charlotte, N. C., National Bank building, 191. Chase, Frank D., ‘‘ Consolidated Press Co. Factory,’’ 260. Chatham Theater, New York, interior, 300. Chauvinism, and architecture, 150. Chestnut Street Theater, Philadelphia, 300. Chew house, 72. Chicago, first dwelling, 146; view (1832), 146; levee (1833), 147; mid-century house, 154; street view (1870), 161: courthouses, 161, 209; house of revival period, 175; business building, sky-scrapers, 177, 194, 195; views showing development, 182-184; banks, 190, 191; clubs, 195, 293: school, 243; factory, 259; modern house, 278; apartment houses, 286, 287; hotel, 289; hospital, 295; theaters, 303, 304; churches, 330. See also World’s Columbian Exposition. Chicago Historical Society, material from, 146, 147, 161, 182, 183. Chicago Tribune, building, 189, 198. Chillicothe, Ohio, state house, 107. Chimayo, N. M., church, 23. Chino, Cal., school, 245. Chippendale, Thomas, forms, 58, 85, 137. Christ Church, Philadelphia, 65, 75. Christian Science churches, 310, 320. Christiana, Del., old school, 238. Christ’s Church, Va., 49. Churches, Spanish-American, 3, 19, 21, 22, 25, 26; early colonial New England, 28, 35; square type, 28, 39; early middle colonies, 38, 40; early colonial southern, 42, 48: later colonial New England, 60, 61; later middle colonies, 74; later colonial southern, 80, 87, 88; early national period, 98-100, 114, 311; Greek Revival, 134; fe Oe dP” hd he ee PO Pt eee es eed ere es ke Ae a "y erie eee ne ata ies ae Be i py re is phy 5 Ci Dt Pe ee ie i) ha Sant} ” ' . CA ae Py a9. Pet rs ee a oe Bee i ba pd Bae} Ps - ema | “ft ‘ Ce CPL, Se Pst De iy ik PONS 21 nea pa Pee | rae en A F ij n ALAA ae eA I fat Tak Aa Urea) i : ‘ ie is q ‘ i F 5 Peon se PAL ARs ee aL he Aaa San Vey Sa ee + a P. : ee 0 ih) 341 Gothic Revival, 138, 156, 311; mid-century, 162; Ro- manesque, 173; architectural development and types, 309, 310; Christian Science type, 310, 320; Methodist type, 310, 321; modern Gothic, 312-316, 330; modern Renaissance, 317-319; Roman basilica type, 319; use of Spanish mission details, 320; modern Georgian, Moor- ish type, 323. See also next title. Churches, details and interiors, Spanish-American, 20, 23-25; colonial, 49, 60, 74, 75; early national, 100, 105; of revival period, 173, 174; modern, 311; Byzantine, 317, 318, 321; chancels, 324. Churrigueresque style, 19, 20. Cincinnati, view (1835), 107; Groesbeck house, courthouse, 210; school, 241, 242. Cities, developed western, 149; development of American type, 179-187; helter-skelter and zoning system, 186, 187, 196, 327, 337. See also cities by name. City halls, colonial, 63; early national, 106, 135; modern, 160, 206, 207. Civic centers, 207. Civil War, and architecture, 150; character of memorials, specimens, 219, 224, 225, 227, 228. Clark, William A., house, 276. Classic styles, in modern public buildings, 200, 209, 210; American eclectic type, 200, 201, 213, 270; in educational buildings, 237, 248, 253, 254; pseudo, in theater, 300. See also Georgian; Greek; Renaissance; Roman; Ro- manesque. Clay, Henry, Ashland, 110. Cleveland, Grover, memorial tower, 250. Cleveland, Ohio, airplane view, 186; Museum of Art, 213; Allen Theater, 306. Climate, and local style, 327. 153; ’ Clinton and Russell, “‘ Ballroom, Hotel Astor,’’ 290. Clipper ship, 6. Cliveden, 64, 65, 72. Clubs, of revival period, 171; modern city, 195, 282, 292- 294, 328; country, 282, 291; fraternity house, 292; Y.M.C.A., 292; interiors, 292, 294. Cold Spring, N. Y., cottage, 332. Coleman house, 127. Colleges. See Educational buildings. Colonial style. See Georgian. Colony Club, New York, 294. Colorado. See Colorado Springs. Colorado Springs, Broadmoor Hotel, 291; Pauline Chapel, 319. Columbia Trust Company building, 190. Columbia University (King’s College), buildings, 236, 247, 254, 318. Columbian Magazine, 89; and architecture, 65. Columbus, Ohio, view (1846), 144; Duncan house, 269. Combe’s Alley, Philadelphia, 71. Commerce, development in colonies, influence on architec- ture, 50, 64. See also Bridges; Business buildings; Ferry station; Railroad stations. Community building, 274. Concert halls, interiors, 301, 303, 305. Concrete, as building material, expression, 201, 256. Connecticut, colonial houses, 16, 29, 57; colonial church, 61; early national period church, 99; old state house, 101; mid-century house, 154; new capitol, 164; modern office building, 193; memorials, 223, 225; educational buildings, 246, 252; housing developments, 273, 274; apartment houses, 287; modern church, 315. See also New England. Consolidated Press Co., factory, 260. Convents, 91, 317. } gS A aS Sah er ds LAE, ree Le ere eee ODF yay? re ieee Hed DEAE Dre Po dad,t ole : iA Tov gigewret onal 4 a a iS eae ee ere C wera ey Ly et yi Dc rnorn wines fol s a i" rn Tec SCENES EGER? terete rat rorn pT SESESESRDED NO ee? mr ty a Ny Che ed Sh tere rghit J “ owe ee ee ek ee py oa ee Rey Oe PPS Pup LORE TT Eisenia eT tet a ea ea aa yo SOS Ea Fe ES Bie eee Pe eee ce 5 = 3 = 5 pt 2 - % ane Se ae! te ee; By S a ne a im | 4 i rs ee sf ey id | a ot a ick Cou ey ne i rf i ¥ 4 =~ | Coe ae erp ee sr3 x7 Sas hes Te Fo fee Ps hot) fee - 329g ae Soe eek Vb ecE RIT eel elieh a a eee os . ea 420 eS * = A ay i 7 OT Ie oo oe a Ss oe ae at ae oo oF fa = ay * ee ot F< p > 6 Pee ee" Wd¥¢ ’ ; 5 Cee teed Pa et ol ee ea el Pad a J 5 4 in 7) cea * Pe ae Ca pnMISA OTN Tibia y a eee 4 F a Ca tae ae om - Pik nel Saal ine ede Lb ch ede) ere be LL by Lr th Tf .s » et enh t EE ey Feet) Ae Ory 8 >) = res pote ge iy ot She eet one re ee Sarda ota atte thal Dhar Wahal Nall Dee aah a oa peda tee aain rebate oh Jol oh oe eee Pr att Cet peace trad Lt at Bax Cn “ 7 . 4 ~ eek hee en] hey | ee Seo - .* 8 ome es ee * = t bile ait Ae Sw Ba " fa to Nati il Le te a ed total a Rhee Lee ew ee gt er ot ee Cros oa oie be one 4 ee) os ee Pt Pedal a) pets ee ad tah a bel ees bh teet tt Bote ee eR ia ars deh adden bettie inlet net tad eh Get et ee eee 5 ihe oh te a ee “ ener ae tn : a ee ei ie er ae re a ie a = ie, = tie ee A = * = _ z * 4. Fe ~ 7 x a a : ie ee a kan, < B * - ss pa a er Beh SS \% 342 Cook, H. N., Belting Co., administration building, 261. Cook-Oliver house, 97. Cooke, G., ‘‘ Washington,” 116. Cope and Stewardson, “Ridgley Library,” 249. Coppell, Herbert, house, 331. Corbett, Harvey W., “Bush Building,” 189. Corbin, Francis, house, 46. Cosmopolitan Club, New York, court, 333. Cosmopolitan State Bank, 191. Courthouses, colonial, 61, 80, 88; Cabildo of New Orleans, 91: early western, Greek type, 107, 130, 145, 146; of disruptive period, 161; interior, revival period, 172; type, 201; modern, 209, 210. Cousins, Frank, on Derby house, 95. Cram and Ferguson, “‘ Masters’ School,” 247; “Princeton Graduate School,” 250, 251; ‘“‘Cathedral of St. John the Divine,” 314, 315; “‘Ellingwood Chapel,’ 315: “ All Saints’ Church,” 315; ‘‘Unitarian Church, Boston,” 322. See also next title. Cram, Goodhue and Ferguson, “California Buildings, Panama-California Exposition,” 234, 235; “First Bap- tist Church, Pittsburgh,” 312; “St. Thomas’ Church,” 313; “St. Mark’s Church,” 316; “Interior, Gillespie House,” 331. See also Goodhue, B. G.; and preceding titles =. - Crane, G. Howard, ‘‘Music Box Theater,” 305; “Allen Theater,” 306. Crane Memorial Library, Quincy, 175. Cret, Paul, ““Reading Room, Indianapolis Library,”’ 218. Croff, G. B., Progressive American Architecture, 155, 157. Culture, sectionalism in, 9, 10; Indian, 10. See also Social conditions. Cumberland Road, tavern, 143. Cummings, M. F., Modern American Architecture, 155. Cunard building, 195, 196. Cupolas, on colonial houses, 46, 52, 55, 61, 62, 84, 85; colonial church, 76; on public buildings, 76, 88, 101, 107, 144, 154, 161, 207; Greek, 127, 136; on educational buildings, 236, 238, 245, 247, 248. See also Domes. Cutts house, 54. ee Dacit, Henry D., “‘Interior, St. Francis de Sales,’ 318. Dakota Apartments, 284. Dana, C. A., United States Illustrated, 142. Danvers, Mass., Maria Goodhue house, 32; Lindens, 59. Darby, Pa., log cabin, 14. Dartmouth College building, 248. Dater house, 271. Davignon, ——, “Broadway Tabernacle,” 134. Davis, Alexander J., ‘“‘Bowers House,” 127; “Stevens House,” 129; “‘ Amherst College,’’ 133; ‘‘ Masonic Hall,” 137; “‘Interior, Chatham Theater,” 300. Davis, George, “Chicago in 1832,” 146. Davis, Pierpont and Walter S., ““Eltinge House,” 270. Day and Klauder, “‘Holder and the Halls, Princeton,” 251. Dayton, Ohio, view (1846), 130. Dean, Edward C., “Turtle Bay Gardens,” 328, 333; “Court, Cosmopolitan Club,’ 333. Dedham, Mass., Fairbanks house, 29. Delano and Aldrich, “Palmer House,” 277; ‘“‘ Knicker- bocker Club,” 328; ‘‘Hooker House,”’ 330. Delaware, colonial churches, 40; colonial house, 70; rural school buildings, 237, 238, 244. Derby, Elias Hasket, house, 95, 98. Derby, Richard, house, 53. Derby-Crowninshield-Rogers house, 95, 98. DeSaurez and Hatton, ‘‘McLean House,’’ 328. INDEX Des Godetz, Antoine, influence on Jefferson, 109. Detroit, library, 201, 217; industrial buildings, 259, 260. Detroit Evening News, warehouse, 260. Dexter, Samuel, house, 128. Dexter, Mich., Samuel Dexter house, 128. Diamond, James, ‘‘ Design for Federal Capitol,” 118. Ditmars, Cornelius, house, 67. Dobbs Ferry, N. Y., Masters’ School, 247. Dobie, Samuel, “Design for Federal Capitol,” 119. Dodge, E. S., “Hartford Fire Insurance Building,” 193. Domes, church, 24; colonial, 89; early national, 101; University of Virginia Library, 116; in designs for federal capitol, 118, 119, 121; on capitols, 122, 136, 164, 178, 201, 202, 203; on Greek type building, 135; modern church, 317, 318, 320, 321. See also Cupolas; Spires; Towers. Doorways. See Houses, details and interiors. Dorsey’s Gothic mansion, 137. Doten house, 28, 31. Dover, Del., colonial house, 70. Doyle and Patterson, “‘Dormitory, Reed College,” 250. Dramatic tendency, 325, 331, 332. Drayton Hall, 85. DuBois, E. I., ‘“‘Soldiers’ and Sailors’ Monument,”’ 228. Duer, W. A., Reminiscences, 76. Duluth, Minn., Soldiers’ and Sailors’ monument, 227. Dummer house, 52. Duncan house, 269. Dutch influence, 12, 13, 36-39, 64, 66-68, 102, 276. Dutch West India Company, Amsterdam house, 12, 13. Dyckman house, 102. East DownincToN, Pa., log house, 14. East Norwich, L. I., Campbell farmhouses, 272. Eastchester, N. Y., St. Paul’s Church, 76. Eastlake, Sir Charles L., imitations, 159. Eastman Theater, Rochester, 305, 306. Eckel and Boschen, “Interior, Presbyterian Church, St. Joseph,” 322. Eclecticism, development, 7, 166, 169; classic-Gothic, 138; in modern public buildings, 201, 206, 214; in modern country houses, 268, 270; in farm group, 273; in modern city houses, 277-279; in church architecture, 310; tendency of style freedom, 325, 328-330. Ecole des Beaux-Arts, training of American architects, 7, 165, 200. Economic conditions. See Commerce; Industry. Eddy, Mary Baker, memorial, 223. Edenton, N. C., House with the Cupola, 46. Edgar, Mrs. William, house, 168. Education, development of collegiate, influence on archi- tecture, 7, 8; architectural, 126. See also next title. Educational buildings, colonial schools, 16, 238; Ports- mouth Atheneum, 96; early academies, 104, 238, 245; University of Virginia, 115, 116; Greek style, 133; early western, 145; pseudo-Gothic, 164; phases of collegiate architecture, 236, 237; phases of school architecture, 237; rural schools, 238, 244; schools up to mid-century, 239, 240; modern schools, 240-245, 336; school interiors, 241, 242, 246; modern boarding schools, 246, 247; early colleges, 247, 248; modern college buildings, 248-254; collegiate interiors, 251, 254. Effingham Tavern, 288. Egyptian style, Tombs in New York, 136. Eidlitz, Cyrus, ““Temple Emanu-el,” 162. Eleanor Club, 293. Elections, early western county, 146. Elizabethtown, Pa., Grand Lodge Masonic Home, 296.a Peet Yh Crier (ft J ye fy F e PURE at ee EM Be de or Bees ee Lik Bai Pea cei ed Tes Le FL Daria SUS PLEURAL Li PAS eee AY A 5 < -* | Ft Ae " i iu 5 INDEX 343 Ellett, Thomas H., “Barnes Farm Buildings,” 273. Eltinge house, 270. Emerson, W. R., “Country House,” 167. English influence, colonial echo, 1, 10, 11, 15-17, 27, 30, 32, 33, 35, 36, 42, 51, 93, 108; tradition in country and suburban houses, 264-266; in farm buildings, 273. See also Georgian; Jacobean. Essex Institute, Salem, material from, 61. Expansion, effect on architecture, 139. Expositions, architectural influence and views, 7, 151, 165, 166, 221, 232-235, 336. Factorisgs, ugliness and architectural problem, 255, 256; early mill, 257; later box-like, 257, 258, 260; Gothic adaptation, 259. See also Industrial buildings. Fahnestock, Clarence, cottage on estate, 332. Fairbanks house, 29. Fairfield, Va., 42, 43. False fronts, 140, 147, 148. Faneuil Hall, Boston, 62. Farmhouses, frontier, 143; architectural character, 262; modern, 272, 273. Farmington, Conn., Congregational Church, 61. Farragut, David G., New York monument, 22+. Faulkner, Barry, decorations in Cunard building, 196; murals in Eastman Theater, 306. Faunces’ Tavern, 68. Fenn, Harry, “ Architectural Sketches,” 168. Fenner, Sears & Co., “Arcade,” 114; ‘“‘University of Virginia,” 115; “State Department,” 120; “Capitol,” 121; ‘‘Bowers House,” 127; “Amherst College,” 133; “Masonic Hall,’ 137; “Swedenborgian Church,” 138; “Dartmouth College,” 248; “‘Walnut Street Theater,” 299: ‘“‘Chestnut Street Theater,’ 300. Ferdinand, Ind., Immaculate Conception Convent, 317. Ferris house, 126. Ferriss, Hugh, “Studies of Mass under Zoning Law,”’ 187, 337. Ferry station, mid-century, 163. Fifth Avenue Hospital, 295. Fireplaces, of public building, 78, 172. See also Houses, details and interiors. Five-bay house, 28, 65. Flagg, Ernest, “Singer Building Tower,” 194. Flagler house, New York, 276. Flagpole bases, monumental treatment, 227. Flatbush, L. I., Ditmars house, 67. Flemish bond, 65, 70, 71. Florida, Spanish architecture, 20, 21. Flournoy and Flournoy, ‘“‘Doremus Gymnasium,” 248. Flower Hotel, Boston, smoking room, 172. Ford Motor Company, power house, 259. Form, growing sense, 327, 336, 337. Forster, Frank J., ““Baldwin Station,” 213. Fort Howard, 141. Fort Snelling, 142. Fort Washington, N. Y., Martin house, 155. Forts, frontier, 141, 142. Fossette, H., “Bowery Theater,” 135; “Council Chamber,” 135. Fraternity house, Amherst, Mass., 292. Freeman, F. O., “‘ Pierce Academy,” 238. French, Daniel C., “Lincoln Monument, Lincoln,” 224; “Lincoln Memorial at Washington,” 231. French style, influence, 93, 106, 108, 221, 232-234; of mid- century, 162; chateau, 167, 170; in country and sub- urban houses, 263, 266; in farm buildings, 273; in city houses, 276; in hotels, 289. Frontier, log cabins, 2, 14, 139, 142, 146; and architecture, 124, 125, 128, 139, 140; forts, 141, 142; farmhouses, 143; taverns, 143, 144, 146; sod and dugout houses, 147; town houses, 147, 148. GaBRIEL, Ralph H., on architectural development, 1-8. Gale, William H., Pioneer Tales of Chicago, 147. Garber and Woodward, “‘East High School, Cincinnati,” 241, 242. Garden Apartments, 286. Gardens, modern, 272, 328, 332, 333. Gardner house in Westchester County, 264. Gardner-White-Pingree house, 95. Georgia, houses, 110, 127, 152; college, 245. Georgia Female College, 245. Georgian (colonial) style, rise in colonies, 3, 28: colonial New England houses, 35, 52-56; middle colony houses, 40, 67-70; colonial southern houses, 44, 47, 48, 81-85: colonial churches, 49, 60, 61, 74, 87, 88; spread and modification in northern colonies, 51, 64, 65; details and interiors, 53, 57-59, 67, 71, 73, 86, 87; colonial public buildings, 62, 63, 76-78, 88, 89; colonial tavern, 68: stable, 73; survival and blending in early national period, 92, 93; modern country and suburban houses, 168, 267, 275; modern public buildings, 207; modern library interior, 215; in collegiate architecture, 237; educational buildings, 241, 242, 246, 248, 249; farm- house, 272; modern city houses, 272, 279; clubs, 293, 294, 328: modern churches, 322; traditional hold, 327. See also Classic styles. German influence, 64, 145. Germantown, Pa., later colonial houses, 71, 72; Concord School, 238; local-style houses, 333, 334. Germantown hood, 65, 70. Gibbs, Sir James, Book of Architecture, 50; and St. Michael’s Church, 87. Gilbert, Cass, and Gothic in sky-scrapers, 189; ‘“Wocl- worth Building,” 197; “Minnesota State Capitol,” 203; ‘“Arkansas State Capitol,’ 203; “Interior of Newark Courthouse,” 210; “Detroit Library,” 217; “Duluth Memorial,” 227; ‘“‘Festival Hall, Louisiana Purchase Exposition,” 233, 234; *“ Warehouses,” 256, 261. Gilchrist, Edmund B., ““Awbury,”’ 334. Gillespie, Waldron, house, 331. Girard College, 133. Glass, Hallidie building, 199. Glen Cove, L. I., Killenworth, 266. Glen Head, L. I., Barnes farm buildings, 273. Glendora, Cal., school, 245. Gompert, W. H., “New York Public School,” 240. Goodacre, W., “University of Virginia,” 115. Goodhue, Bertram G., “‘ Design for Chicago Tribune Build- ing,” 189, 198; “Suggestion for Sky-Scraper,’ 197; “Nebraska State Capitol,’ 201, 205; “Design for Kansas City War Memorial,”’ 220, 230; “‘Dater House,” 271: ‘Interior, Chapel of the Intercession,” 313; ‘““Reredos of St. Thomas’ Church,” 313; “St. Vincent Ferrer Church,”? 314; ‘‘Chancel, St. Bartholomew’s Church,” 324; ‘‘Chancel, St. Thomas’ Church,” 324; “Design, Academy of Sciences,” 329; “Design, Uni- versity Chapel,”’ 330; ‘‘Doorway, Coppell House,” 331. See also Cram, Goodhue and Ferguson. Goodhue, Maria, house, 32. Goodwin, Bullard and Woolsey, ‘Goodwin House,” 266. Goodwin house, 266. Gordon and Kaelber, ‘“‘ Eastman Theater,’ 305, 306. Gothic style, colonial churches, 40, 48, 49, 74; revival, saving influence, 125, 150, 151; houses of revival and a SEP PEPER MERE a elie ti be iar eet ek tee mu i a . F ero ” S Ld vA? i: ya% AiG kta wa wie ie SRR Potty FE See ew eb be re Oe tas oS oS iad grea. J 0 9 er er Ea tT ~oe Tw vee oa "29 etna Op det he a re es ea = Pe test td - S Cet a St ee ee ek ~ te ee {THe Ue ee ea ee ek ee ee eee ot pe vine Ey es Pr ey eT td he ya ee) ee = are —<— bi ay rf - Ls > en | 7 bof a fed) ig a x = i > hn cae (i et ee Be ee Rone: Ye os Pe es et Po Po ey J fa - PSL id tYoans Oa ee 5 AS or ceb tune r-eiTee, yt Te “pe rd = eee Dl ad dd Dy = _ i 5 - * % os a he Delle awe: , o- 7 is a ey ye 4 ‘ - = " yy ad rope ed Bat aed od toad oad “Pa 4 ey Te Set MC ee Sota ig ee 2a a ee. Ao 1% ae 4 ~ a 344: pseudo, 137, 152, 153, 155; churches of revival and pseudo, 137, 138, 152, 156; public buildings then, 137, 154, 160, 163, 164; “‘carpenter,”’ 151, 154, 156; porches, 158; pseudo, in educational buildings, 164, 236, 240; use in sky-scrapers, 189, 195, 197, 198; present type in educational buildings, 236, 237, 240, 243, 247, 249-252; in industrial buildings, 259; modern churches, 309, 311- 316, 324; new American, 330. See also Jacobean. Government buildings, of classic period, 120, 123, 134, 135; Egyptian, 136; of disruptive period, 154; of revival period, 176; classic predominance, 200; modern planning, 200; modern, 206, 208. See also City halls; Capitols; Public buildings; Town halls. Government House, New York, 103. Grace Church, New York, 311. Graeme Park, Pa., Keith mansion, 39, 73. Graham, Charles, “‘ View of Chicago,” 183. Graham’s Magazine, 245. Grand Central station, New York, former, 162; present, interior, 212. Grand Lodge Masonic Home, 296. Grass Lake, Mich., Smith house, 128. Grauman’s Theaters, 307, 308. Gravestones, colonial, 222. Great Plains, frontier tavern and railroad hotel, 144. Greek style, period, economic and social connection, 5, 124, 125; early signs, 104; superficiality of use, 125; modification, 125; houses, 126—129; details and interiors, 128, 129; in combination, 130; early public buildings, 130-136, 144-146; disintegration, 150; Néo-Grec, public buildings, 150, 174, 175, 202, 207; modern bank build- ing, 190; educational buildings, 238, 245; Masonic Temple, 295; re-creation, 329. See also Classic. Green and Wicks, ‘‘ Toledo Museum of Art,’’ 214. Greenwich, Conn., Mallory memorial, 223. Grenman, Wallace B., “Design for Chicago Tribune Building,’ 198. Groesbeck house, 153. Guaranty Trust Company building, 190, 192. Guilbert and Betelle, “‘ Rural School,” 244. Guilford, Conn., Norton house, 16; Whitfield house, 29. Gunston Hall, 46. Guy, Francis, ““Tontine Coffee House,”’ 102. Haserstrou, L., and Son, “Smoking Room, Flower Hotel,” 172. Hackensack, N. J., colonial house, 66; Dutch Reformed Church, 311. Hadley, Mass., Porter house, 56. Haight, C. C., and Gothic, 309. Hale and Rogers, “Memphis Courthouse,” 210. Half timbering, 11, 13, 17, 27; im early West, 145; in modern houses, 265. Hall, Basil, Forty Etchings, 110. Hallet, Stephen, as architect, 109; “Design for Federal Capitol,” 119; and construction of capitol, 121, 202. Hallidie building, 199. Halls, colonial, 62, 76; for literary and scientific purposes, 96, 104, 114, 138, 329; Gothic and classic, 137, 138, 295. See also Churches; Educational buildings; Government buildings; Libraries; Theaters. Hamilton, Andrew, “‘ Independence Hall,” 77, 78. Hamilton, James, ‘‘ Ashland,’’ 110. Hamilton, Ohio, view (1846), 145. Hamlin, A. D. F., “ Whitinsville Memorial,” 227. Hampton, Va., 85. Hampton Court apartments, 287. Hancock, John, house, 56. INDEX Hanover County Courthouse, Va., 88. Hardenbergh, Henry J., “Dakota Apartments,’ 284; “Waldorf-Astoria,”’ 288; ‘“‘Hotel Plaza,’ 288. Harmon, Arthur L., “Allerton House Lounge,” 292; “Bell House,”’ 332; ‘“‘Hotel Shelton,’’ 336. Harrisburg, Pa., Olmsted memorial, 222. Harrison, Peter, “King’s Chapel,” 60; “Old City Hall, Newport,” 63. Hart, Philip, ‘““Design for Federal Capitol,” 118. Hartford, Conn., old state house, 101; Jewell house, 154: capitol, 164; Hartford Insurance building, 193; Sol- diers’ and Sailors’ Memorial arch, 225. Harvard Club, New York, interior, 294. Harvard University, buildings, 236, 247, 249. Hastings, Mich., Consolidated Press Co. factory, 260. Hay, John, house, 176. Haymarket Theater, Boston, 299. Heine, W., ‘Tombs,’ 136. Helmle and Corbett, “Bush Terminal Building,” 196; ‘National Masonic Memorial,” 229; “St. Gregory’s Church,’ 319. Hermitage, Hohokus, 152. Herriott, Justin, “Chicago Levee,”’ 147. Herts, Henry B., ““Temple B’nai Jeshurun,” 323. Herts and Robertson, ‘‘ Booth Theater,”’ 304. Herts and Tallant, “‘Academy of Music, Brooklyn,” 301; “Detail, New Amsterdam Theater,” 301. Highland Park, Ill., house, 272. Hill; J., “City Hall,” 106. Hingham, Mass., Old Ship Church, 35. Historical and Philosophical Society of Ohio, material from, 107. Hoban, James, as architect, 109; “‘ White House,’’ 120. Hoboken, N. J., recreation pavilion, 208. Hohokus, N. J., Hermitage, 152. Holabird and Roche, “Tacoma Building,” 176; “‘ Monroe Building and University Club,” 195; “‘Cook County Courthouse,” 209; “‘Hotel La Salle,’ 289. Hollywood, Cal., Grauman’s Theater, 307. Holtwood Power Development, 258. Homewood, Md., 111. Hood, Raymond, “Chicago Tribune Building,” 189, 198; ‘American Radiator Co. Building,” 197. Hooker, Miss E. R., house, 330. Hooker, Philip, “Albany Academy,” 104. Hoppe, C. F., “Power House,” 258. Horley, Eng., view, 12. Horsham, Pa., Keith mansion, 39, 73. Hospitality of colonial planter, 41. Hospitals and institutions, of early national period, 105; architectural problem and tendencies, 282; modern, 295, 296. Hotel Astor, ballroom, 290. Hotel Oakland, 289. Hotels and taverns, colonial, 68; coffee house, 102; in Greek style, 131, 132; stage-coach, 143, 288; frontier, 143, 144, 146; early western, 144; western railroad (1869), 144; mid-century interior, 161; interior of revival period, 172; in present-day life, communal centers, 280; early city, 288; modern city, 288-290; modern interiors, 290; chain, 290. House of the Seven Gables, 28, 33. House-plan books, 155, 157. Houses, English, that influenced colonial, 11; first colonial, 13, 16; log cabins, 14, 139, 142, 146; Indian, 15; Spanish-American, 20, 21; pueblos, 21; five-bay tradition, 28, 65; seventeenth-century New England frame, 29-33; and masonry, 34; later colonial Newfe ed oe A a4 aya ir hee au FP id P tytaete ‘i Ly hry a pew | ! F 4 , 4 ky) an Pil depen te We ee eet Lieled re Mine y 1 pk aH JP ‘ Soh Wag ets) Pee ie te ot 2) LT EEO TT Tae al: Pat EA Fe ying + fq .— ary PL pa As a iM than rn 2 a Fj M4 ry PR SNe se 1 Sa NAA Jer DS Poi a oe aia ie Mert ie a INDEX 345 England, 35, 52-56: New York Dutch, 36-38: early southern colonial, 41-48; later, in middle colonies, 66— 72; later southern colonial, 81-86; early New Orleans, 89, 90; early national time: in New England, 94~-98; in Middle States, 102, 103; in South, 110-113; Greek style, 126-129; Gothic revival and pseudo, 137, 152, 153, 155; frontier farm, 143; early western, foreign influence, 145; frontier sod and dugout, 147; frontier TER ECUN ENE RE NPECRE OPE RE PrN ORE Rae Ne ROsty Poteet li wet ice Ti thee i JACOBEAN STYLE, in northern colonial houses, 30, 56: in southern colonial houses, 42-47: in southern colonial church, 49; lingering in South, 79, 81; in educational buildings, 243, 247. See also Gothic. Jamaica Plains, Mass., colonial house, 56; revival period, 167. Jamestown, Va., first houses, 1, 13. house of i we Sas ers, ee bebo t St town, 147, 148; “Italian,” 153; of mid-century dis- ruptive period, 153-157; of revival period, 167-171, 175; rural, 262, 272, 273; modern country and suburban, 262, 264-272, 332-335; planning and equipment, 262, 263; housing develop- ments, 263, 273-275; modern city, 263, 276-279, 328, 330. See also next title; and Apartment houses; Clubs; tendencies and traditionalism, 263; Hotels; Tenements. Houses, details and interiors, early colonial, 30, 31; later colonial, 53, 57-59, 67, 71, 73, 86, 87; early national, 94, 97, 98, 104, 113; Greek style, 128, 129; art forms of disruptive period, 157; mid-century porches, 158; mid- century interiors, 159; of revival period, 172, 176; of modern country, 266, 269-271, 329, 331, 332; of modern city, 279. Housing developments, 263, 273-275. Howard, John G., “Electric Tower, Pan-American Ex- position,” 233; ‘“‘Wheeler Hall, University of Calli- fornia,’ 253. Howe, Henry, Historical Collections of Ohio, 107, 130, 142-145. Howells, John M., “Chicago Tribune Building,” 189, 198. Howells and Stokes, “‘Chapel of St. Paul,” 318. Hubbell and Benes, “Cleveland Museum of Art,” 213, Qh4. Hunt, Myron, “Congregational Church, Riverside,”’ 320. Hunt, Richard M., and architectural development, 7, 165, 166; “‘ Vanderbilt House,” 170; ‘‘ Marble Twins,” 170; “Lenox Library,” 174; “Tribune Building,” 193; “Central Building, Chicago Exposition,” 232. Hunt and Hunt, “Old Slip Police Station,” 208. Hutton Settlement, 296. IuuiNois, town development, 148; capitol, 178; country and suburban houses, 270, 272; housing development, 274. See also Chicago. Illinois Central Hospital, 295. Illinois Trust and Savings Bank, 190. Illustrierte Mississippi-Thal, 149. Independence, Mo., courthouse, 107. Independence Hall, 77. Indiana, early tavern, 143; modern public buildings, 203, 218; apartment house, 287; church, 317. Indianapolis, capitol, 203; library, 218; Hampton Court, 287. Indians, and influence on colonial houses, 1, 15, 18, 22; culture, 10; village, 15; pueblos, 21. Industrial buildings, warehouses, 256, 257, 260, 261; early waterworks, 257; power plants and stations, 258, 259, 261: service building, 259. See also Factories. Industry, colonial domestic, 27; industrialism and archi- tecture, 125, 185. See also preceding title. Institutions, 296. Interiors. See classes of buildings by name. Iowa, school building, 241; church, 321. Irvington, N.Y., Williams house, 153. Italian style, houses, 153, 328; stoop, 158; courthouse, 161. See also Classic; Renaissance. Ittner, William B., ‘Bryan Mullanphy School, St. Louis,” 243. Jefferson, J. P., garden, 332. Jefferson, Thomas, and architecture, 4, 108, 109, 118: ‘ Monticello,” 111, 112; “State capitol at Richmond,” 115; “ University of Virginia,’ 115, 116; ‘Design for White House,” 117. Jefferson, W. T., house, 335. Jefferson City, view of early capitol, 149; interior, present capitol, 204. Jenkins’ house, 48. Jewell house, 154. Johns Hopkins University, building, 248. Johnson, Reginald D., “Garden, Jefferson Estate,” 332. Johnson house, 71. Jones, Harry W., “Chapel at Lakewood Cemetery,”’ 321. Jones, Inigo, and architectural development, 3; Stone- Heng, 65. Jones, Sydney R., “Horley,”’ 12. Jumel mansion, 64, 69. Kann, Albert, “Packard Service Building,” 259; ‘‘ Detroit Evening News Warehouse,” 260; ‘‘ Hill Memorial Hall,” 303. Kane house, 277. Kansas, sod and dugout houses, 147; pioneer town, 148. Kansas City, Mo., public baths, 208; Liberty Memorial, 220, 229, 230. Katonah, N. Y., Whitall house, 267. Kearsley, John, “Christ Church,” 75; and Independence Hall, 78. Keith mansion, 39, 73. Kelham, George W., “San Francisco Library,” 218. Kelsey, Albert, ““Olmsted Memorial,’ 222; “Carson Col- lege,” 246. Kent, William, Designs of Inigo Jones, 50. Kentucky, early houses, 110. Keough, H. J., “Birmingham High School,” 244. Kidder, J., “Tremont House,” 131. Killenworth, 266. Kimball, C. P., and Co., factory, 259. Kimball, Fiske, on Apthorpe house, 69; on Derby house, 95; on federal capitol, 121; on Greek style in West, 128. King’s Chapel, Boston, 60. King’s College. See Columbia University. Kingston, N. Y., Senate House, 36. Kinsie house, 146. Kittery Point, Me., Cutts house, 54. Klutho, Victor J., “Immaculate Conception Chapel,” 317. Knickerbocker Club, 328. Lapizs Reposirory, 29. La Farge, John, church interior work, 174, 318. Lafever, Minard, Modern Builders’ Guide, 125, 126, 129, 137; Architectural Instructor, 151-153, 240. Laguna, N. M., St. Joseph’s Church, 22. La Jolla, Cal., Wheeler beach cottage, 335. Lake Forest, Ill., McCormick house, 270; Market Square group, 274. Lamb, Martha J., Homes of America, 153. Lamb and Rich, ‘‘ New York City House,” 169. Lambert, Gerard B., house, 267. Lancaster, Mass., First Church, 100. PS ere eee Pe PER ed Net Son ERE SES Se airy ee ee th Daten it aL stiri ch tho tes) “= ae el ek TY a) ie Ty ~ ae Ly Ce OOO Ue moe Pe OT Pe ek, I Bt aN Mike Pear eet Pete UE te TRO ty ES eee re - md ‘3 BR | yj a f, a] im a 1a rar I ae pa cm D a oe EI fs ~ elt ‘as tee ed . : cae , Pt Peo RL pel an ot apes _ a es - Sa as SSP ies ae = SON ts Joo So ee ee ee ee) erty Te ee el Pe oy Pr ae = re er LETS FE EN a ke = : Fee TAO on ade Od Sd Md TTR Pl yd A ef Ge Is TO PPR TO PS Pe pny AK Et G eke ee oe i ee ee ee ee ee ey rnLNRM NERO bed tied Urol Ber dette eto tes CCT 7 Phe Phi t. - . . a ae a pe ek ts as, At . ets qraeasoee oP pi «1 - A teehee er en Ce tt er tr a eee ear hd “= « * a (t- ath wa = Oe ee) . » ed ol tek Loe eed Ra Ca aca a Lda oben rh en Ue Te el ee s a, 4 ce Ie * neXt Ln edt a pin be Lee hh ee a a . ~ - eee 2 La &. hy HX f a ion Ay ss he r: ee Fe e '. & . fe pt en #3 | See . ey 3 7 Au a L i a aor z ee | Bie é he Sa ' 1 $) f if iy ie ris ie 4 ae ie a ry « i re y i i | z } oa 4 Bi f it Ci i + ad ae re ha oi) tna at te Le Ln) a a Ph Sa (( | INDEX 346 Landsdowne, Pa., World War memorial, 227. Langley, Batty, Cry and Country Builder's 50. Larkin-Richter house, 96. Larpenteur, J. D., ‘‘Log House,” 142. La Salle Hotel, 289. Latrobe, Benjamin H., Greek influence, 5, 109; > 110: and federal capitol, 121, 122, 202; “Bank of Baltimore,” 132; arsenal buildings, 141; “Phila- delphia Waterworks,” 257; “New Theater,” 299. Lawrence, Ellis F., “‘ Albina Branch Library, Portland,” 216. Lawrie, Le Brun, N., and Sons, “ Metropolitan Tower, Ledge stone as material, 333, 334. Ledyard, Lizbeth, house, 264. Lee, Jeremiah, house, 55, 58, 59. Lee, Robert E., birthplace, 47. Lee, T., “Troy Female Seminary,” 133. Lehman house, 265, 266. Leicester, Mass., view, 130. L’Enfant, Pierre Charles, and French fluence, 93, 108; “Plan of Washington,” 117. Lenox Library, 174. Leonia, N. J., high school, 242. Lewis, H., “St. Louis,” 149. Lewis Tavern, 143. Libraries and museums, of classic period, 114, 116; of revival period, 174, 175; modern, 201, 213-218; type of public, 201; interiors, 214-218, 335; modern col- legiate, 249, 254. Library Company of Philadelphia, 64. Library of Congress, interior, 215. Liggett building, 196. Lincoln, Abraham, memorial at Washington, 220, 23 monument at Lincoln, 224. Lincoln, Eng., Castle Hill view, 11. Lincoln, Neb., capitol, 205; Lincoln monument, 224. Lindeberg, Harrie T., “Ledyard House,” 264; ** Albe- marle,”’ 267. Lindens, 59. Lindsborg, Kan., sod house and dugout, 147. Litchfield, Electus D. (and Rogers), Library,” 218; 274; “Yorkship Housing Building,’ Parkway Gardens,” 275. Litchfield, Conn., St. Michael’s Church, 315. Little and O’Connor, “Flagler House,’ 276. Little Rock, capitol, 203. Local styles, 326, 333-335. Lockhart, G. L., “Britt School,” 241. Log cabins, as frontier type, , 14, 199, 142, 143, 146. Logan, John A., tomb, 222. Logique theory, 200. London Magazine, 86. Loomis Institute, 246. Lord and Hewlett, ‘‘Somerset Hills 291. Lord & Taylor store, 199. Loretto, Pa., Schwab farm buildings, 273. Treasury, “* Ash- land,’ Lee, sculpture in Nebraska capitol, 205. ” 194. architectural in- 0-231; 275; Los Angeles, Eltinge house, 270; Grauman’s Theater, 307, 308. Louden, Philadelphia, 104. Louisiana. See New Orleans. Louisiana Purchase Exposition, type and views, 221, 233, 234. Lowell, Guy, ‘Boscawen Library,” 219. Lowell, Mass., Memorial Auditorium, 228. “Interior, St. Paul “Watertown Community Building,” “Pelham Country Club,’ Lucomb, 46. Lukeman, Augustus, sculpture at Louisiana Purchase Exposition, 234. McCay Ferry, Pa., Holtwood Power Development, 258. McComb, John, as architect, 93; “Government House.” 103; “St. John’s Church,” 105; “City Hall,” 106. McCormick, Harold F., house, 270. McCracken, Robert T., house, 265, 334. Machined woodwork, effect, 151. Mcllvain and Roberts, “Swayne House,” 334. McIntire, Samuel, as architect, 93; ‘“‘Pierce-Nichols House,” 94, 97; and Derby house, 95, 98; ‘* Gardner- White-Pingree House,” 95; ‘““Cook-Oliver House,” 97; “South Church,” 99; ‘Design for Federal Capitol,” 118, 119. McKim, Mead and White, as architects, styles, 166; “Osborn House,” 167; “Edgar House,” 168; “Tiffany House,” 170; “Villard House,” 171, 172; “Century Club,” 171; “‘ Herald Building,” 171; “Columbia Trust Company Building,” 1990; “Municipal Building, New York,” 195; ‘“‘Rhode Island State Capitol,” 203; “General Post Office, New York,” 206; “Pennsylvania Station, New York,” 211; “Morgan Library,” 214; “Boston Library,” 216; “Farragut Monument,” 224; “Washington Arch,” 225; “McKinley Memorial,” 226; “Court of the Universe, Panama-Pacific Exposition,” 9235. ‘‘Hamulton Hall, Columbia University,” 254; “Library, Columbia University,” 254; ‘Vanderbilt House,” 276; “‘Kane House,” 277; “Fifth Avenue ‘““Uni- Apartments,” 285; ‘Hotel Pennsylvania,” 289; versity Club, New York,” 293, 294: ‘Colony Club,” 294- “Interior, Harvard Club.” 294; ‘“‘Madison Square Garden,” 303; “Eastman Theater,” 305, 306; ‘““Madi- son Square Church,” 317. MacLaren and Hetherington, McLean, Alice, house, 328. McLean house, Washington, conservatory, 279. MacLucas, George, and Fitton, “ Hampton Court,” 287. MacNeil, Hermon A., “Whitinsville Memorial,” 227. MacNeill house, interior, 279. Macon, Ga., Coleman house, 127. McPherson, Kan., view (1873), 148. McSperit house, 37. MeVeagh, Franklin, house, 179. MeVicker’s Theater, Chicago, 304. Madison, James, Montpelier, 112. Madison, Wis., capitol, 204. Madison Square Church, New York, 317. Madison Square Garden, 303. Maginnis and Walsh, “Altar, Carmelite Convent,” 324. Magonigle, H. Van Buren, “Tiberty Memorial,” Kansas City, 220, 229. Maine, colonial houses, 54; public buildings, Gothic churches, 156. See also New England. Malcolmson, Higginbotham and Palmer, ‘Southwestern High School, Detroit,” 943. Mallory, Henry R., memorial, 223. Malvern Hill, Va., house, 42, 49. Mamaroneck, N. Y., Osborn house, 167. Mangin, Joseph F., “City Hall,”’ 106. Manhasset, L. I., Barnes house, 265. Manhattan bridge, approach, 209. Manors, copy of halls in colonial South, 42. Mansfield, Mass., Winslow house, 31. Manship, Paul, “ Morgan Tablet,” 226. Maps and plans, Champlain’s Plymouth Harbor, Washington, 117. ‘Pauline Chapel,” 319. 123, 207; 15;Be - . “i ie OTF Sif oe tilt ‘4 n pee ee A (PY dA he et at Si tel ee del a | eS ; " Hi 7 a ; ce ea en Py ies ee Le eee en , ah hee ff pO r Peat nN det | Then Ls em fer 4 | Pt a ee F abd boty Be Yes fe ie gregh y . 72) ae ier o ber a Se ke A ST Do ea oh pee I INR erat a To ee LES eae RLS Pea , ete te Fy pee ey Sk by Se UL YAN deed Pt Le Es te A $ 5 ; ] ie r a A Pe 7 Pe ies es me) Pr cr INDEX 34.7 Marble Twins, 170. Marblehead, Mass., Jeremiah Lee house, 55, 58, 59. Marietta, Ohio, Campus Martius, 141. Market houses, colonial type, 77. Marshall, John, house, 110. Marshall and Fox, “North State Street Apartment,” 286; “Rialto Theater,’ 303. Marston, Van Pelt and Maybury, “Jefferson House,” 335. Martin, Isaac, house, 155. Maryland, colonial rurality, 41; colonial houses, 81, 82; capitol, 89; early national period house, 111; country tavern, 143. See also Baltimore; South. Maryland Historical Society, material from, 117-119, 132. Masonic order, old New York hall, 137; temple at Chicago, 177; memorial at Alexandria, 229; temple at Washing- ton, 295; Grand Lodge Home, 296. Massachusetts, early colonial houses, 16, 28-32, 34; the- ocracy and culture of colonial, 27; colonial church, 35; later colonial houses, 50, 52, 55-59; early national period churches, 98, 100; Greek style buildings, 127, 130; educational buildings, 133, 236, 238, 242, 247, 249, 253; revival period house, 167; libraries, 175, 215; modern town hall, 207; memorials, 223, 227, 228; industrial building, 257; country house, 264; modern churches, 315, 320. See also Boston; New England; Salem. Massachusetts Historical Society, material from, 100. Massachusetts Institute of Technology, buildings, 253. Masters’ School, 247. Mather, Cotton, Magnalia, 34. Matteson, T. H., ‘‘ Broadway Tabernacle,” 134. Matthews, Charles T., “Lady Chapel of St. Patrick’s,”’ 312. Mauran, Russell and Crowell, “Hotel Statler,’ 290. May, Edwin, ‘‘Indiana State Capitol,” 203. Mead and Requa, “‘ Wheeler Beach Cottage,”’ 335. Medford, Mass., Peter Tufts house, 34; Royal house, 52. Mellor, Meigs and Howe, “‘McCracken House,” 265, 334; ““Germantown House,” 333. Memorials and monuments, character of early, 219, 222; decadent, 219, 220, 222; character of revival period, 220; as expression of national movement, 220; grave and tomb, 222-224; war, 224, 225, 227-230; individual, 994-226: arches and obelisk, 225; buildings, 226, 228; tablet, 226: Masonic, 229; Lincoln, 230, 231. See also Expositions. Memphis, courthouse, 210. Merchants’ Exchange, New York, first, 76. Methodist church type, 310, 321. Metropolitan Museum of Art, New York, building, 175; Morgan tablet, 226. Metropolitan Tower, 194. Mexico. See New Spain. Mexico City, cathedral, 3, 19; private courtyard, 20. Meyer, Herrmann J., Universorum, 107, 120, 134, 148, 149. Meyer and Holler, “Grauman’s Theater,” 307. Michigan, Greek style houses, 128; modern school, 244. See also Detroit. Middle colonies, culture, 10. Middleboro, Mass., Pierce Academy, 238. Middleton Place, S. C., 44. Milbank memorial, 223. Milbert, Jacques Gérard, Itinéraire Pittoresque, 39, 102, 131, 180, 257; on industrialism near Boston, 125. Mill Island, old house, 17. Millar, Donald, restoration by, 43. Miller and Reeves, ‘‘ Duncan House,” 269. Mills, Robert, as architect, 109; “Monticello,” 112; ‘“‘Washington Monument,” 225. Mills. See Factories. Milton, Mass., academy, 242. Minneapolis, chapel at Lakewood cemetery, 321. Minnesota, frontier fort, 142; log house, 142; public buildings, 203, 218; memorial, 227; chapel, 321. Missouri, early public buildings, 107; log cabin, 142; early town view, 146; capitol, 149, 204; modern church, 322. See also Kansas City; St. Louis. Moffatt- Yard-Ladd house, 54, 59. Monroe building, 195. Montanus, Arnoldus, Nieuwe en Onbekende Weereld, 19. Montclair, N. J., Presbyterian Church, 322. Montecito, Cal., Gillespie house, 331; garden, Jefferson estate, 332. Montfaucon, Bernard de, Antiquities of Italy, 65. Monticello, Va., 111, 112. Montpelier, Vt., capitol, 136. Montpelier, Va., 112. Monumental Church, 114. Moorish style, early examples, 162, 163, 172; in syna- gogues, 323. Moravians, first schoolhouse, 16. Morgan, J. Pierpont, library, 214; memorial tablet, 226. Mormons, Nauvoo, 148. Morosco Theater, New York, 304. Morris, Benjamin W., “Cunard Building,” 195, 196; “Door, Shallow Brook Farm,” 331. Morris, Robert, house, 93, 103. Morris and Kenny, Philadelphia Album, 113. Morris house, Germantown, 71. Morris (Jumel) mansion, 64, 69. Mould, J. Wrey, “Metropolitan Museum,” 175. Mount Airy, Va., 84. Mt. Kisco, N. Y., St. Mark’s Church, 316; Shallow Brook Farm, 331. Mt. Pleasant, Philadelphia, 72, 73. Mount Vernon, 84, 86, 87. Moving pictures. See Theaters. Mudejar style, 20. Mulberry house, 45. Mullgardt, Louis C., “Court of the Ages,” 336. Munday, Richard, ““Old State House,” 63. Murgatroyd and Ogden, “New York Fraternity Clubs,” 293. Murphy and Dana, ‘Founders’ Building, Loomis Insti- tute,” 246; “Schwab Farm Group,” 273; “‘ Waterbury Housing Development,” 273. Museums. See Libraries. Music Box Theater, New York, 305. Nawant, Mass., Ellingwood Chapel, 315. Nashville, capitol, 136; inn, 288. National City, Cal., high school, 244. National Soldiers’ Home, library, 154. Naumkeag factory, 258. Nauvoo, Ill., view, 148. Nebraska, capitol, 205; memorial, 224. Needham, Mass., public library, 215. Nelson house, 48. New Amsterdam Theater, 301. New Castle, Del., Immanuel Church, 40. New England, first houses, 1; colonial villages, 2; demo- cratic culture, 9; building materials, 10; ordered com- munity, 27; domestic industry, 27; colonial architectural expression, 27; colonial church design, 28; rise of Georgian style, 28; colonial commercial, social and architectural development, 50, 51. See also States by name. ri EER Ee Pr Pe ee Pee eT iy Wg aa AEBS CAPA Se Re EP rT 4 i= z id ic PF ie Re cee c Se ? ey a Pee Pe eed See UO SPE eee aa otc Peter it wat et ior et othe tan tp tart eee ee! le re - ms oe, sea * a 3 wre A a i sr ua nerf me) pe fs ) a4 re 3 Ae 4 Kt S21 ‘i Ba ane | . a3 * “J . * 3 ee e “ja Sea » x er re Pa < ‘ ES LT eo flo Ek tb We a eae a rk Ea 7 dd = See ea Ae SR he ye eee pee peu he PT rt te he Tite ts oP a) a PS aaa Re Tt ae Fas o_* eee, tag eye . : POTENT AG Waa Pea ee Tes ee = eyes Py Aor ee $5e 325 Ent = “7 ee ee EAA GH eee a Oe Ce 1g ee oh eee ae was % erat arte 35 5 - wf 4 5 "Pee pay ee 7 Ta 5 3c ie ee <“~, fe “+5 0 a - (had en . wed S eg oe Pe Pty) ee ee ed De ee a se ort ae oy ye ee Py ee) ee rafAMR Nie = 348 bet ebb tet hae bet aT | New Hampshire, colonial houses, 52-54, 58, 59; early national period house, 96; modern library, 215; college, 248: modern church, 316. See also New England. New Haven, Conn., Center Church, 99; Hooker house, 330. See also Yale. New Jersey, colonial houses, 66, 70; Gothic house, 152; revival period house, 167; educational buildings, 164, 242, 250, 251; revival period church, 173; modern public buildings, 208, 210; country and suburban houses, 267; housing development, 275; country club, 291; colonial church, 311; modern church, 322. New Mexico, pueblos, 21; early house, 22; churches, 22, 23. New Mexico Art Museum, 335. New Netherland, houses, 36-39; influence, 64. New Orleans, character of architecture, 80; view (1803), 89; colonial houses, 89, 90; convent and archbishop’s palace, 91; Cabildo, 91. New Philadelphia, Ohio, view, 107. New Spain, architecture, 3, 18; colonial expansion, 18; missions, 18; port view, 19; architecture, 19-21, 22-26; house architecture, 20, 22. New Theater, Philadelphia, 299. New York, commercial foundation, 10; Dutch houses, 17, 36-39; colonial architectural development, 28, 64; Dutch church, 38; later colonial houses, 67, 68; colonial church, 76; educational buildings, 104, 247; Greek style buildings, 131; mid-century houses, 153, 155; country houses, 167, 264-267, 269, 272, 331, 332; public build- ings, 172, 178, 207; modern office building, 193; railroad stations, 212, 213; old mill, 257; farm buildings, 272, 273; housing development, 275; country club, 291; theater, 305, 306; modern church, 316. See also New York City. New York City, colonial architecture, 64; colonial houses, 68, 69; colonial tavern, 68; Old Sugar house, 69; co- lonial churches, 74; colonial Merchants’ Exchange, 76; early national period house, 102; Tontine Coffee House, 102; Government House, 103; Wall St. (ca. 1830), 103; early national period church, 105; City Hall, 106, 135; Assay Office, 123; Greek style houses, 126, 129; Astor House, 132; old Masonic Hall, 137; Broadway Taber- nacle, 134; Sub-Treasury, 135; Tombs, 136; Chatham Street (1858), 157; Grand Central Station (1871), 162; mid-century: house, 157; store, 160; hotel, 161; churches, 162, 311; earlier theaters, 163, 300; park pavilion, 163; ferry buildings, 163; revival period: houses, 168-171; club, 171; business building, 171; churches, 174; library and museum, 174, 175; early sky-scrapers, 177, 193; views showing development, 180-182; modern: bank buildings, 190-192; sky-scraper office buildings, 194- 197; public buildings, 195, 206, 208, 214; stores, 199; bridge approach, 209; railroad stations, 211, 212; library, 214; memorials, 223-226, 228; schools, 239, 240; col- leges, 247, 249, 254; industrial building, 258; modern houses, 276-279, 328; tenement houses, 283, 284; apart- ment houses, 284-286; modern: hotels, 288, 289, 336; clubs, 292-294, 328, 333; hospital, 296; theaters, 301— 306; churches, 312-315, 318, 323, 324; private garden, 325,300: New York Fraternity Clubs Building, 293. New York Herald building, 171. New York Historical Society, material from, 102, 103, LOG; 1205, 129: 1825 18451355155; 2389: New York Magazine, 247. New York Public Library, material from, 74, 181, 300. New York Times building, 193. ee tee heel bined te ae el tele r oS hte pe oe i - E, . 2 P maha church, 38; continued or) sie pir ee a neta oh ies ask ak lit terete eA ul Ce oo on ¥ = en “ : es . method and church he E = hs Nai a ah ior Sonica Der ba ee eae Tere eet ere C SERS pa ke Se eS A SP ae = _ a % = * wn 2 ~ st be a * a a5 balance aerate tn Tape be id Leena tnd he at et ee eh tin at ha rt S ss . . 5 7 as th d hed bel oe oe ee oe ed es ers Relient ical in “hast at ht ae Reet ln ett = Lie AO bat ri = OTN od oat Fh ides) et OS ge ee ee ee ot or le te ene © oe sc — Bo re nes Che he OnE 2 SASS See re, ok pe eto pa caer pe eg i haa LRN rt eed ohn het ae alee < ee Ra, ee! . ns Ay 2" Se = - =v ed (gre Ske i 5 . pt ae Bee ory ttre 5 a A ae okt _ oe at AG eRe at d i og HR a * a gna a INDEX New York Tribune building, 193. Newark, N. J., Second Presbyterian Church, 173: court- house, 210. Newark, Ohio, view (1846), 145. Newburyport, Mass., colonial houses, 34, 57. Newcomb, Rexford, Franciscan Mission Architecture, 24, 26. Newell, P., ‘“‘ Parish House,” 157. Newington, Conn., room wall from, 57. Newport, R. I., colonial houses, 55, 57; old state house, 63; old city hall, 63; Edgar house, 168. Niles, Ohio, McKinley memorial, 226. Nimmons, George C., “Kimball Factory,” 259; ‘‘Sears, Roebuck and Co. Warehouse,”’ 260. North Carolina, colonial rurality, 41; colonial houses, 46, 48; modern business building, 191. See also South. North Dakota, capitol, 164. Northampton, Mass., Main Street view, 98; Bowers house, 127. Norton house, 16. OAKLAND, Cal., Hotel Oakland, 289. Oberlin College, slab hall, 145. O’Connor, James W., “Campbell Farmhouses,”’ 272. Octagon house, Washington, 113. Ogden house, 154. Ohio, early public buildings, 107, 130, 144, 145; log cabin, 142; early tavern, 143; modern business building, 192; capitol, 206; museum, 214; memorial, 226; country houses, 268, 269. See also Cleveland; Cincinnati. Old Brick Meetinghouse, 35. Old Feather Store, Boston, 28, 33. Old Hurley, N. Y., houses, 28, 37. Old Ship Church, 35. Old South Meetinghouse, 60. Old State House, Boston, 36. Old Sugar house, New York, 69. Olds and Puckey, ““Temple Irem,” 323. Oley, Pa., first schoolhouse, 17. Olmsted memorial, 222. Orange, N. J., house, 167. Oregon, modern library, 216; college, 250. Orne, Joseph, “Street in Salem,” 61. Osborn house, 167. PacaA HOUSE, 81. Pacific coast, northern frontier town, 148. Packard Motor Company, service building, 259. Packer Collegiate Institute, 240. Pain, William and James, British Palladio, 65. Palisades, 1, 2. Palladio, Andrea, influence on Jefferson, 109, 111, 117. Palmer, Francis, house, 277. Palmer and Hornbostel, ‘‘ Pittsburgh Soldiers’ Memorial,” 298. Pan-American Exposition, architectural type and influence, view, 221, 233. Panama-California Exposition, type and views, 221, 234, 235. Panama-Pacific Exposition, type and artistic influence, views, 221, 235, 336. Parish, Daniel, house, 157. Park and recreation buildings, mid-century, 163; modern, 208. Parker, Daniel P., house, 129. Parker, Thomas, and Rice, ‘‘Hartford Fire Insurance Building,” 193; “‘Gilman Hall,” 248. Parris, Alexander, as architect, 93.INDEX ie Pasadena, Cal., modern houses, 271, 331, 335. Patent Office, 134. Peabody, Wilson and Brown, “Barnes House,” 265; “Lathrop Brown House,” 279. Pelham Parkway Gardens, 275. Pell and Corbett, “Springfield Municipal Group,” 207. Pendleton, John, “Troy Female Seminary,” 133. Pennsylvania, colonial culture, 10; colonial architectural expression and houses, 14, 28, 39, 64, 71-73; colonial school, 17; memorial, 227; industrial building, 258; country houses, 265, 268, 333, 334; farm buildings, 273; institution, 296; church, 323. See also Philadelphia; Pittsburgh. Pennsylvania Hospital, 103. Pennsylvania Hotel, New York, 289. Pennsylvania Magazine, 70. Pennsylvania station, New York, 211. Pepperell, Lady, house, 54. Pepperell, Sir William, 5+. Perkins, Fellows and Hamilton, ‘“‘Carl Schurz School, Chicago,” 243. Perspective Made Easy, 65. Peterborough, N. H., All Saints’ Church, 316. Petford, C. E., “First Dwelling in Chicago,” 146. Philadelphia, colonial houses, 28, 38-40, 72, 73; colonial architecture, 64, 65, 70; Combe’s Alley, 71; colonial public buildings, 76-78; Second Street (1799), 77; early national period houses, 103, 104; hospital, 105; first Bank of United States, 114; Areade, 114; educational buildings, 133; Greek style church, 134; Gothic house, 137; Swedenborgian Church, 1388; mid-century business building, 159; colonial schoolhouse, 238; waterworks, 257: warehouse, 260; modern houses, 277; early theaters, 299; modern churches, 316, 318. Philipse Manor house, 67. Phipps tenements, 283. Picturesque America, 185. Pierce Academy, 238. Pierce-Nichols house, 94, 97. Pike’s Opera House, interior, 163. Pittsburgh, Romanesque church, 173; jail, 176; views showing development, 185; Soldiers’ Memorial, 228; modern church, 312. Planning, as art, 200. Plantations, architecture, 3, 5; colonial houses, 41, 43-48, 82-87; hospitality, 41. Plateresque style, 20, 24. Platt, Charles A., ‘‘ Villasera,’’ 268; ‘‘ McCormick House,” 270: classic eclecticism, 270; “‘ Astor Court Apartment,” 285: ‘Pratt House,” 278; “Interior, Timberline,” 329. Plattsburgh, N. Y., city hall, 207. Plaza Hotel, 288. Plymouth, Mass., Champlain’s map, first houses, 15; Allyn house, 16; Doten house, 28, 31. Polhemus, Mackenzie and Coffin, “‘ Whitall House,” 267. Police station, modern, 208. Polk, Willis, and Company, “Hallidie Building,” 199; “Pumping Station,” 261; “‘Gas Station,” 261. Pond and Pond, ‘‘ House on Astor Street,’’ 278. Pope, John R., “Plattsburgh City Hall,” 207; “Lehman House,” 265, 266; ‘Conservatory, McLean House,”’ 279; “‘Masonic Temple,” 295. Poppel, John, “‘Tombs,’’ 136. Porches, mid-century, 158. Porter house, 56. Port Folio, 124, 137. Portland, Me., post office, 123; city hall, 206. Portland, Oregon, Albina Branch Library, 216; Reed College, 250. Portsmouth, N. H., colonial houses, 52-54, 58, 59: early national period house, 96; Athenzeum, 96. : Post, George B. (and Sons), “Times Building,” 193; “Interior, Wisconsin Capitol,’ 204; ‘‘Hotel Statler,” 290. Post Office buildings, Washington (ca. 1850), 120; local, 123, 206. Power plants and stations, 258, 259, 261. Pratt house, 264, 278. Price, Bruce, ““Madison Avenue Residence,”’ 169. Princeton University, buildings, 164, 250, 251. Providence, R. I., First Baptist Church, 61. Province house, Boston, 34. Public baths, modern, 208. Public buildings, square design, 28, 35, 107; Philadelphia colonial, 65; Greek style, 130, 1386; carpenter Gothic, 154. See also Business buildings; Churches; Edu- cational buildings; Ferry station; Governmental build- ings; Halls; Hospitals; Hotels; Industrial buildings; Libraries and museums; Railroad stations; Theaters. Public Ledger building, old, 159. Pueblos, 21; style, 335. Puritanism, softening and architecture, 51. Putnam and Cox, “Delta Upsilon Fraternity House,”’ 292. QUEEN ANNE STYLE, 262. Quincy, Mass., Crane Memorial Library, 175. Rapwnor, Pa., Willcox house, 268. Railroad stations, Gothic revival, 138; western hotel, 144; mid-century, 162; type, as gateway, 201; modern, 211-— 213. Railway Exchange building, 194. Raleigh, N. C., airplane view, 186. Randall, James A., “Edward Smith School,”’ 336. Rankin, Kellogg and Crane, “Cincinnati Courthouse,” 210. Rapp Brothers and Hendrickson, “New Mexico Art Museum,” 335. Ratzer, Bernard, “Sky Line of New York,” 180. Ravenna, Ohio, view, 130. Reed and Stem, ‘‘Grand Central Station,” 212. Reed College, building, 250. Religious houses, colonial New Orleans, 91. See also Churches. Renaissance type, English, 3; Spanish-American, 19, 20, 23, 24: Latin, in old New Orleans, 90, 91; in American revival, 171, 172; in sky-scrapers, 194; use of Italian, 208, 214, 216, 268, 269, 294, 303; use of Spanish, 221, 234, 235, 270, 271, 324; Dutch, 276; in hotels, 288; churches, 317-319. See also Classic. Renwick, James, as architect, 151, 165; ““Grace Church,” ST. Revere, Paul, house, 32. Reynolds, Marcus T., “Plaza, Albany,” 193. Rhind, J. Massey, “‘ Wilham McKinley,” 226. Rhode Island, colonial: houses, 55, 57; church, 61; public buildings, 63; revival period house, 168; modern public buildings, 203. See also New England. Rialto Theater, Chicago, 303. Riceborough, Ga., house, 110. Richardson, Henry H., and architectural development, Romanesque, 7, 165, 166; “Fireplace, Court of Appeals,” 172: “Trinity Church,” 173, 310; “Crane Memorial Library,” 175; ““McVeagh House,” 175; “Hall, Hay aaa Sette) S ee rr a (endow damaneh oh SRA eAy Seve T Hh peer tort * eae) by ore tas ce eer rare Se a Ton tt rt] Puerco ee * Sate pe eke hot aie ot ad - et oo skint wie we} en ot Ly Pas keen t Et = Pury Poteet ren ad oo ’ TL eek SAE Pe a Dk Pere Pe - “ i = AT ny i A Ul * s 4 ue i pt ed ds A Ae ot yea? PPh Pe Dt ey aoe oe ee ed ey PTE Cees she ad ea oe Pet es 7m) Pat to ey ee Pk, dl ra err rer] an os 4 ~ God he ee) o ye Ps - ea a - Te 3 Som ip - Pa - al er a) je die Cio Te ge oe Pe Lay Pee ete oe Td a el a ed a ee ad ie "J ¥% ms we ek ce a Ty -| \B bd det Pt tt tote Pe = 5 eS ke ee, by es Py a Pie re ee ee oye Oe ee eee ' er tat Oa tee cA fee aidetahlon rat tale tie! hehe ool bel lel tit etal lee Tee tre a “ GP ¥ Fe iy hee de “ss nd ee Payer aa a ony, » eae Pee ot fs . = See eT oe oe Sa oak rs " SEO Te St gE Sk ee Peete trees ere : Th ee Le ee es mis dhe © gi a c. : = Tek ‘ oa ~ . oe m . Oo 4: i | eed E ie ie ie 5 « Gi = i i ry Le ! BPs FE: ) ‘ ie if HE 4 ~ Ad _ Se et tho tT ae oa es — So A hohe pecan alt Natl oN ie ha tas a Aoi yey eee ee, A, z a S r . pita ~ * 2 Ate ie eS ~ 350 House,” 176; “Pittsburgh Jail,’ 176; and capitol at Albany, 178. Richmond, Va., John Marshall’s house, 110; Valentine Museum, 113; Monumental Church, 114; capitol, 115; Federal Reserve Bank, 192. Rile, Lovett, ‘Bushnell House,” 268; “Estate Cottage,” S52: Ritchie, Parsons and Taylor, ‘‘Needham Library,” 215. Riverside, Cal., Congregational Church, 320. Roberts, A. T., “Second Presbyterian Church, Newark,” ZS: Robertson, R. H., “Tract Society Building,” 193. Rochester, N. Y., railroad station, 212; theater, 305, 306. Rogers, Isaiah, “Tremont House,” 131. Rogers, James G., “Henry Rogers Mallory Memorial,” 993: ‘“‘Harkness Quadrangle, Yale,’ 252. Washington, 108, 109; Jefferson and, 109; period and nationalism, 109; University of Virginia, 115, 116; federal capital, 117-119, 121, 122; other early Washing- ton buildings, 120; revival post office, 123; modern bank buildings, 188, 190-192; modern type in public buildings, 200, 201; in modern houses, 277; eclectic in city houses, 278; modern interior, 279. See also Classic. Romanesque style, Richardson and, 7, 165, 166; churches, 173, 309. Rosewell, Va., 83. Rossiter and Muller, “St. Michael’s Church,” 315. Roxbury, Mass., Shirley-Eustis house, 50, 55; modern church, 320. Royal house, 52. Rye, N. Y., Westchester Country Club, 291. >> SAARINEN, Eliel, “Design for Chicago Tribune Building, 189, 198. St. Augustine, Fla., early houses, 20, 21; cathedral, 21. St. Bartholomew’s Church, New York, chancel, 324. St. Francis de Sales’ Church, Philadelphia, 318. St. Gaudens, Augustus, “Farragut Monument,” 224. St. Gregory’s Church, Brooklyn, 319. St. James, L. I., Lathrop Brown house, 279. St. Joseph, Mo., Presbyterian Church, 322. St. Louis, view (ca. 1849), 149; Wainwright tomb, 224; INDEX San Carlos Borromeo Mission, view, 25. San Diego, railroad station, 213. See also Panama-Cali- fornia Exposition. San Francisco, early view, 149; Hallidie building, 199; library, 218; industrial buildings, 261. See also Panama- Pacific Exposition. San Francisco Gas Co., station, 261. San Gabriel Mission, belfry, 25. San José Aguayo Mission, 23. San Luis Rey de Francia Mission, 26. San Sebastian y Santa Prisca Church, Tasco, 20. San Xavier del Bac Mission, 24. Sanders, T., ‘‘ Nashville Inn,” 288. Sands, J., ““North Street, Northampton,” 98; Springs,’ 131. Santa Barbara, mission, view, 25; Dater house, 271. “Ballston a Rogers house, 269. Santa Clara, Cal., Carmelite convent, 324. fi Roman basilica type, 319. Santa Fé, N. M., oldest house, 22; art museum, 325. bi Roman style, period and masters, 4, 92, 93; revival, 7; Santee, S. C., St. James’ Church, 49. i development in houses, 95-98, 103, 110-113; interiors, Santo Domingo Mission, 23. a 97: churches, 99, 100, 114; development in public Saratoga Springs, view (1826), 131. buildings, 101-105, 115, 122, 123; and building of Sartain, John, ‘“‘ Ashland,” 110. Saugus, Mass., Boardman “‘Scotch”’ house, 31. Savannah, Gothic Revival house, 152. Scharf and Westcott, Philadelphia, 159, 160. Schenck-Crook house, 17. Scherrer, Adolph, “Indiana State Capitol,” 203. Schmidt, Richard E., Garden and Martin, “Cosmopolitan State Bank,” 191; “‘Lochby Court Apartments,”’ 287; “Eleanor Club,” 293; ‘Illinois Central Hospital,” 295. Schneider, Walter, ““Temple B’nai Jeshurun,”’ 323. Schools. See Educational buildings. Schuyler mansion, 68. Schwab, C. M., farm buildings, 273. Seaboard National Bank, 191. Sears, Roebuck and Co., warehouse, 260. Sectionalism, in American culture, 9, 10; disappearance in modern architecture, exceptions, 179. Sergeant, Peter, house, 34. Shakespeare, William, birthplace, 11. Shaw, Howard V., ‘“ Willcox House,” Square Group, Lake Forest,” 274. Shelton Hotel, 336. Shepard, George F., ““Milton Academy,” 242. Shepley, Rutan and Coolidge, “‘Freshman Dormitories, Harvard,” 249; ‘‘Christian Science Church, Roxbury,” 320. Ships, clipper, 6. Shirley, William, house, 50, 55. 268; “Market school, 243; Washington University building, 249; Hotel Statler, 290. See also Louisiana Purchase Ex- Shirley, Va., 82. position. Shirley-Eustis house, 50, 55. St. Louis Mercantile Library, material from, 146. St. Michael’s Church, Charleston, 80, 87. St. Patrick’s Cathedral, New York, Lady Chapel, 312. St. Paul, Minn., log house, 142; capitol, 203; library, 218. St. Paul’s Chapel, New York, 74. St. Peter’s Church, Va., 49. St. Philip’s Church, Charleston, 87, 88. St. Thomas’ Church, New York, 313, 324. St. Vincent Ferrer Church, New York, 314. Salem, Mass., early colonial houses, 28, 32, 33; later colonial houses, 53; colonial view, 61; early national period houses, 94, 95, 97, 98; Chestnut Street view, 98; South Church, 99; Greek style in, 128; North Church, 138; railroad station, 138; factory, 258. Salem, N. J., colonial houses, 70. Salmon, William, Palladio Londonensis, 50. San Antonio, Texas, Alamo, 24; mission, 26. Shreve, R. H., “Liggett Building,” 196. Sibley, Ernest, “Leonia High School,” 242. Sill, Buckler and Fenhagen, “Federal Reserve Bank,” 192. Singer Building tower, 194. Sky line, broken, 107. Sky-scrapers, early, 176, 177, 193; ideal, 182; effect on streets, 184; development of types, 189; later box type, 194; tower and triple types, 194-197; Gothic, 195, 197, 198; influence of zoning law, set-back type, 196, 198, 327, 337; hotel, 336. Slate house, 28, 38. Smith, Henry A., “Vanderbilt Tenements,”’ 284. Smith, John, on first Virginia houses, 1. Smith, Thomas, houses, 44. Smith house, Grass Lake, 128. Smithfield, Va., Saint Luke’s Church, 42, 48. Smithmeyer and Pelz, “Interior, Library of Congress,” 215. Ee am en ee i me tee ee See Pe 8 et ee ee a ag ek 8 oe ate PTA hah a ae eeoncr nach ds boar hn Romp et wet Se AE Se a Se -—_—o" es : bar Aes ~ ES . aS RAS A eraaerk ee pin Sig Ahad ac . eo * he ao S aINDEX Snell and Gregerson, “Dexter Building,” 160. Snyder, C. B. J., “ Morris High School,” 240. Soane, Sir John, Plans, Elevations and Sections of Buildings, 65. Social conditions, influence of colonial commercial develop- ment, 3, 50, 64; plantation hospitality, 41; and Greek architectural style, 124; monumental expression of fundamental attitude, 220. Somerset Hills Country Club, 291. South, development of aristocracy, 9; building materials, 10; colonial hospitality, 41; and towns, 41, 79, 80; early colonial architecture, 41, 42; later colonial archi- tecture, 79; architectural influences in early national period, 108. See also States by name. South Carolina, early colonial houses, 44, 45, 48; colonial churches, 49; later colonial houses, 85. See also Charles- ton; South. Southampton, L. I., Rogers house, 269. Spanish Missions, architecture, 18, 22-26; style, 213, 244, 245, 320, 335. Spanish style. See Renaissance; Spanish Missions. Spencer-Pierce-Little house, 34. Sperry, Joseph E., “Baltimore Y.M.C.A.,”’ 292. Spires, colonial, New England, 60, 61; middle colonies, 74; southern colonial, 87, 88; post-Revolutionary “colonial,” 99; on Greek style church, 131; Gothic Revival, 152, 311; modern, 312, 314, 322. See also Belfries; Domes; Towers. Spokane, Wash., Hutton Settlement, 296. Spring Valley Water Co., pumping station, 261. Springfield, Il., capitol, 178. Springfield, Mass., civic center, 207. Springfield, Ohio, Bushnell house, 268. Stable, eighteenth-century, 73. Stairways, in public buildings, 78, 106, 204, 215. Houses, details and interiors. Starrett and Van Vleck, “Lord & Taylor Building,” 199. State Department (1831), 120. State houses. See Capitols. Staten Island, Billopp house, 38. Statler Hotel, St. Louis, 290. Steel frame buildings. See Building materials; scrapers. Stenton house, 40. Sterner, Frederick J., ‘“‘House “MacNeill House,’ 279. Stevens, John C., house, 129. Stevens, John Calvin, ‘‘City Hall, Portland,” 206. Stevens, John H., “City Hall, Portland,’ 206. Stewardson and Page, “‘Rittenhouse Street Houses,” 277. Stewart, A. T., store, 160. Stockbridge, Mass., Ledyard house, 264. Stores. See Business buildings. Stoughton, C. W. and A. A., “Soldiers’ and Sailors’ Monument,” 228. Stratford, Va., 47. Strawberry Hill school, 137. Strickland, William, ‘“‘Swedenborgian Church,” ““Chestnut Street Theater,” 300. Stuart and Revett, Antiquities of Athens, 65. Sturgis, R. Clipston, ‘‘Seaside Village,’’ 274; “Bridgeport Apartment,” 287. Sturgis and Brigham, ‘“‘ Museum of Fine Arts,” 174. Style freedom, 325, 328-330. Sullivan, Louis H., as architect, style, 166, 177; “‘ People’s Savings and Loan Association Building,” 192; “St. Paul’s Methodist Church,” 321. See also Adler and Sullivan. See also Sky- in New York,’’ 278; 138; he ‘ i 5 ee ren ee 7 Ue) A 5 ais Pe : eth Pa kr pom ete g ay ope} F era oro. ees ni . ire oe Oty, SS ster $ gee ee Seed Drs Re hw SOS SC TelS: Ud no AY pA, veh otf | all del aoe LT re) j it. Be ee a Summer beams, 30. Swan, Abraham, British Architect, 50, 58. Swartwout, Egerton, “Mary Baker Eddy Memorial,’ 223. Swayne, Noah, IT, house, 334. Swedish details, 39, 40. Swett-Ilsey house, 57. Sydney, Ohio, People’s Savings and Loan Association building, 192. Synagogues, type, 162, 323. Syracuse, N. Y., Baum house, 267; school, 336. TACOMA BUILDING, 176. Tanner, Benjamin, “Dorsey’s Gothic Mansion,” 137. Tarrytown, N. Y., Lehman house, 265, 266. Tasco, Mexico, church, 20. Taverns. See Hotels. Tayloe house, 113. Temple B’nai Jeshurun, New York, 323. Temple Emanu-el, New York, 162. Tenement houses, growth and regulation, 281, 283; de- velopment of design, 281, 283, 284; public housing, 281. Tennessee, capitol, 136; courthouse, 210; early hotel, 288. Terra cotta, as building material, 171, 197, 286, 301, 303, 304, 317, 318. Texas, Spanish buildings, 23, 24. Theaters, Greek style, 135; early interiors, 163, 300: architectural development of interiors, 297, 298: movy- ing-picture modification, 298; development of exterior, 299, 300; mid-century unfunctional exterior, 300; modern exteriors, 301-306; modern interiors, 301-306; movie interiors, 306-308; outdoor, 308. Theocracy, in New England, 27. Thomas, Andrew J., ““Garden Apartments,” 286. Thomas, Walter H., “St. George’s Church,” 316. Thornton, William, and federal capitol, 108, 119, 121, 202; “Octagon House,” 113. Thoroughgood, Adam, house, 45. Tiebout, Cornelius, “‘Columbia College,” 247. Tiffany house, 170. Tiffin, Ohio, view (1846), 144. Tobacco, colonial shipment, 41. Toledo, Museum of Art, 214. Tollhouses, 141. Tombs, The, 136. Tontine Coffee House, 102. Topsfield, Mass., Capen house, 28, 30. Towers, Gothic, 138, 156, 193, 313, 330; Romanesque, 1783, 176; studies in mass, 187, 337; sky-scraper type, 189, 194-198, 336; public buildings, 205, 207; memorial, 229; exposition, 233, 234, 336; educational, 241, 250- 252: institutional, 296. See also Domes; Spires. Town, Ithiel, “Center Church,” 99. Town halls, modern, 207. Towns, in colonial South, 41, 79, 80; frontier views, 147, 148; developed western, 148. Towns of New England, 35. Tract Society building, 193. Tracy and Swartwout, “Staircase of Missouri Capitol,” 204. Tremont House, 131. Trinity Church, Boston, 173, 310. Trinity Church, New York, ruins of colonial church, 74; as rebuilt, 103; present interior, 311. Trowbridge and Ackerman, “Holtwood Power Develop- ment,” 258; “Killenworth,” 266. Troy Female Seminary, 133. Tuckahoe, 47. 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