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+The Project Gutenberg EBook of The American Architect and Building News,
+Vol. 27, Jan-Mar, 1890, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The American Architect and Building News, Vol. 27, Jan-Mar, 1890
+
+Author: Various
+
+Release Date: May 24, 2007 [EBook #21596]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK AMERICAN ARCHITECT ***
+
+
+
+
+Produced by Juliet Sutherland, Sam W. and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+           THE
+    AMERICAN ARCHITECT
+           AND
+      BUILDING NEWS
+
+        VOL XXVII
+
+      JANUARY-MARCH
+          1890
+
+TICKNOR & CO. PUBLISHERS.
+ 211 TREMONT ST. BOSTON.
+
+
+S. J. PARKHILL & CO. Printers
+Boston Mass.
+
+
+
+
+[Illustration: The AMERICAN ARCHITECT AND BUILDING NEWS]
+
+INDEX TO VOLUME XXVII.
+
+JANUARY-MARCH, 1890.
+
+
+Abattoirs, 128
+
+Aberbrothwick. The Abbey of, 13
+
+Aboriginal Races of America. The, 151
+
+ACCIDENTS:--
+  Fall of a Hotel in Sydney, N.S.W., 184
+   "   "  " Scaffold, 104
+   "   "  St. Louis Academy of Music, 66
+   "   "  the Roof of the Flora Hall, Hamburg, 196
+
+Agreement between Architect and Client, 30
+
+Albany Capitol. Defective Gutters on the, 97
+
+Aluminium from Bauxite, 194
+
+Alva. Statue of the Duke of, 74
+
+America. The Aboriginal Races of, 151
+
+_American Architect_ Travelling-Scholarship Design for a New White
+    House. The, 158
+
+American Bricks, 77
+
+A.I.A. Convention. The, 79
+  "    Illinois Chapter of, 182
+  "    Philadelphia Chapter, 46
+  "    St. Louis Chapter, 206
+  "    Washington Chapter, 43
+
+Amsterdam. High-level Bridge for, 47
+
+Ancient Architecture, 19, 35, 51
+
+André, Architect. Death of Jules, 145 " The Career of M. Jules, 162
+
+"Angelus." Millet's, 12
+
+Apartment-house. The, 3
+
+ARCHÆOLOGICAL:--
+  Burial Mounds, 99, 151
+  Cleopatra's Tomb, 141
+  Delphi. The Proposed Excavations at, 65
+  Dighton Rock. The, 93
+  Hissarlik Controversy. The, 144
+  History of Habitation. The, 149, 168
+  Locrian Town. The Site of a, 16
+  Maya. Temples of Ancient, 204
+  Mesopotamia. Explorations in, 160
+  Obelisk. Protecting the New York, 178, 207
+  Persian Court Art, 16
+  Rome. Discovery of an Ancient Viaduct in, 80
+  St. Emilion. The Monolithic Church of, 16
+  Scandinavia. Discoveries in, 63
+  Uxmal, 204
+  Vikings. The Art of the, 37, 53
+  Yucatan. Ancient Temples in, 204
+     "     Exploring Expedition. A New, 112
+     "     Ruins and Works of Art in, 58
+
+Arches. Concrete, 1
+
+ARCHITECT:--
+  New York State. The, 206
+
+ARCHITECTS:--
+  Annoyances of. The, 194
+  Chimney-flues and, 146
+  Dismissal of. The Right of, 158
+  Examinations and Diplomas, 162
+  in Canada. The Registration of, 183
+   " Spanish America, 18
+  Incomes of. The, 1, 47, 127
+  Libel-suit Between. A, 206
+  New South Wales Institute of. Quarrel in the, 183
+  of Mons Cathedral. The, 114
+  Office. A Chicago, 50
+  Ontario Association of, 41
+  Philadelphia Master-Builders and the, 161
+  Reputation of. The Influence of Architectural Journals on the, 17
+  Responsibility of. The, 2, 130
+  Stray Thoughts for Young, 90
+  Suit against a Railroad. An, 194
+
+ARCHITECTURAL:--
+  Club. Boston, 95
+  Drawings at the League Exhibition, 40, 57, 143
+      "    Philadelphia Exhibitions of, 107, 146
+  Education at Munich, 181
+      "     in France, 162
+  Exhibition at the Pennsylvania Academy, 107
+  Journals on the Reputation of Architects. The Influence of, 17
+  League Exhibition. The, 40, 57, 143
+  Prints. Arranging, 207
+  Shades and Shadows, 56
+  Styles. Changes of, 108
+  Water-color Drawings, 107
+
+ARCHITECTURE:--
+  Ancient, 19, 35, 51
+  at Evanston, Ill., 118
+  Civil and Domestic, 19, 35, 51, 67, 83
+  Decoration and, 6
+  Funerary, 99, 115, 131, 147, 163
+  History of. The, 150
+  in Baltimore, 187
+   " Brooklyn, 5
+  of the Brooklyn Institute. Department of, 206
+  Military, 179, 195
+  Sculpture and, 7
+  Spanish. Sir Frederick Leighton on a Device of, 146
+  Study of. The, 6
+
+Army Engineer and our Public Buildings. The, 143
+
+Arranging Architectural Prints, 207
+
+Art Museum. The Cost of a Small, 23
+ "  of the Vikings. The, 37, 53
+ "  The Tariff on Works of, 18
+
+Artificial-ice Skating-rink. An, 145
+
+Artists. Quarrel among French, 80
+
+Asphalt Paving, 82
+
+Assyrian Architecture, 20
+   "     Fortifications, 179
+   "     Tombs, 116, 144
+
+Australia. Engineering Triumphs in, 106
+    "      Letters from, 106, 183
+    "      Roman Catholic Buildings in, 107
+
+Automatic Sprinklers in Mills, 177
+
+
+BALTIMORE:--
+  Architecture in, 187
+  Building-permits in, 97
+  Letters from, 187
+  Pennsylvania Steel Company's Works near. The, 188
+  Railway. The proposed "Belt Line," 188
+
+Balveny Castle, Scotland, 61
+
+Barye Exhibition. The, 10
+
+Barye's English Admirer, 15
+
+Bauxite. Aluminium from, 194
+
+Belgian Prizes and Honors, 34
+
+Belle Isle Dam. The Straits of, 48
+
+Belt Line Railway for Baltimore. A, 188
+
+Berlin Industrial Museum Exhibition, 174
+  "    Technical College. The, 140
+
+Beryt or Fluid Marble, 160
+
+Bids. The Right of Revising, 194
+
+"Black-lining"? What is, 65
+
+Books on School-houses, 207
+
+Borrowing Suburban Fire-Engines, 18, 146
+
+BOSTON:--
+  Architectural Club, 95
+  Building Laws. The, 109
+  Fires. Water Used in, 79
+  Letter from, 190
+  Lock-out in the Freestone-Cutting Trade, 161, 177
+  Manufacturers Mutual Fire Insurance Company. Annual Report of, 177
+  Museum of Fine Arts. The, 175, 190
+  Society of Architects, 14
+  Walking-delegate's Power. A, 193
+
+Botticher _vs._ Dr. Schliemann. Dr., 144
+
+Bourse du Commerce, Paris. The New, 185
+
+Brentano, Architect. Death of Signor, 130
+
+Brick. Cheap Unbaked Colored, 176
+
+Bricks. American, 77
+
+Bridge at London. The Tower, 192
+   "   for Amsterdam. High-level, 47
+   "   Testing the Forth, 160
+   "   The Hawkesbury Railway, 106
+
+Bridges in China. Ancient, 96
+
+British Museum. Electric-Light at the, 104
+
+Brooklyn. Architecture in, 5
+   "      Institute. Department of Architecture of the, 206
+
+Bronze Gates for Cologne Cathedral, 135
+
+Brunswick Monument at Geneva. The, 18
+
+Buenos Ayres, 18
+
+Builders. Convention of National Association of Master, 34, 81
+
+BUILDING:--
+  Committee. A Competitor's Suit against a, 104
+  Contracts. German, 82
+  Laws. The Boston, 109
+  Permits in Baltimore, 97
+  Safe, 121, 135, 197
+  Stones. Decay of, 98
+  Swedish Penalties for Bad, 72
+  Syndicate. Proposed, 81
+  Trades. Troubles in the, 193
+
+Bull-fights in Paris, 130
+
+Bull-ring for Paris. Proposed, 50
+
+Bureau of Ethnology's Fifth Annual Report. The, 151
+
+Burial-mounds, 99, 151
+
+Building and the Underwriters. Safe, 49, 97
+
+Burmese Temples. Jewels in, 58
+
+Burnham & Root's Office, 50
+
+Byzantine Architecture, 52
+
+
+Canada. Letters from, 41, 104, 182
+   "    Proposed Public Buildings in, 104
+   "    The History of Education in, 183
+   "    The Registration of Architects in, 183
+
+Cast-iron and its Treatment for Artistic Purposes, 201
+    "     Pavements, 192
+
+Castle Campbell, Scotland, 127
+  "    of St. Angelo, Rome. The, 208
+  "    "  Vincigliata, Italy. The, 62
+
+Casts at the Boston Art Museum, 190
+
+Catacombs, 147
+
+Cathedral. Bronze Gates for Cologne, 135
+    "      Drawings at the League Exhibition, 30, 62
+    "      of Mons. The, 114
+    "      "  St. Machar. The, 27
+    "      Strasbourg, 153
+    "      The Completion of Milan, 130
+    "      Towers, 92, 102
+
+Cathedrals. Clearing away Buildings around, 162
+
+Cats. Egyptian Mummy, 208
+
+Cawdor Castle, Scotland, 110
+
+Celtic Tumuli, 99
+
+Cement. Palming off Poor, 113
+
+Cemented Surfaces. Painting on, 146
+
+Cemeteries. Mediæval, 164
+
+Cemetery Vaults, 47
+
+Centennial Hall, Sydney, N.S.W., 184
+
+Charges. A Question of, 207
+
+CHICAGO:--
+  Letters from, 118, 182
+  Suburban Building in. Rapid Transit and, 182
+  World's Fair. The, 177, 182
+
+Chimney. A Tall, 16
+   "     flues. Architects and, 146
+
+China. Ancient Bridges in, 96
+
+Chinese Architecture, 19
+
+Christians. The Primitive, 147
+
+Church-restoring by Lottery, 128
+  "    Towers, 91, 92, 102
+
+Churches. The Picturesque Lighting of, 146
+
+Cippi, 134
+
+Circular Annoyance. The, 194
+
+"City of the Gods," Mexico. The, 172
+
+Civil and Domestic Architecture, 19, 35, 51, 67, 83
+
+Clark, Architect. Death of George, 63
+
+Cleopatra's Tomb, 141
+
+Clerk-of-works Question. The, 79, 111, 159
+
+Cohesive Construction, 123
+
+Cologne Cathedral. Bronze Gates for, 135
+   "        "      Clearing away Buildings around, 162
+
+Color Changes in New York Buildings, 108
+
+Colored Brick. Cheap unbaked, 176
+
+Columbaria, 134
+
+Columns. Ventilating Wooden, 31
+
+Commission on a Standing Party-wall, 142
+
+Commissioner of the Albany Capital The, 206
+
+Commissions. The Question of, 31, 159
+
+Compensation. A Question of, 207
+
+COMPETITIONS:--
+  Drawings, 40, 62, 65
+  Grant Monument. The, 145
+  Hartford Railroad Station. The, 194
+  Montreal Insane Asylum, 104
+  New York Episcopal Cathedral, 40, 62
+  Quebec City-hall. The, 63
+  Sheffield Municipal Buildings. The, 33
+
+Competitor's Suit against a Building-committee. A, 104
+
+Composite Metal. A New, 93
+
+Concentrated Residence in various Countries, 88, 119
+
+Concrete Arches, 1
+
+"Concrete." Laying a Foundation of Dry, 113
+
+Concrete. Wrong Methods of Mixing, 114
+
+Condé. Fremiet's Figure of, 76
+
+Congressional Palace. The Mexican, 96
+
+Construction. Cohesive, 123
+      "       German, 155
+      "       Improvements in Mill, 177
+      "       Slow-burning, 29, 97
+
+Contract. The Lowell City-hall, 194
+    "      "  "Standard Form" of, 81
+    "     taking Labor Syndicates, 194
+
+Contracting Syndicate. Proposed, 81
+
+Contractors. Great, 95
+
+Contractor's Profit-sharing. A, 2, 43
+
+Contracts. German Building, 82
+    "      Importance of Written, 65
+
+Convention of National Association of Master-Builders, 34, 81
+
+Copan in Yucatan. The Ruins of, 59
+
+Copper-rolling. Remarkable, 80
+
+Corrections, 79
+
+Cotman. John Sell, 174
+
+Count and his Machine. A Mysterious, 112
+
+County Council. The London, 104
+
+Coverings for Steam-pipes, 22, 157
+
+Craigievar Castle, Scotland, 189
+
+
+Dalmeny Church, Scotland, 189
+
+Dam. The Straits of Belle Isle, 48
+
+Dangers of Electricity. The, 15, 27
+
+Dead. The Disposition of the, 24
+
+Deaths from Electricity, 15, 27
+
+Decay of Building Stones. The, 98
+
+Decoration and Architecture, 6
+
+Decorative Paintings in the new Bourse du Commerce, Paris. The, 185
+
+Delphi. The Proposed Excavations at, 65
+
+Dessication of the Dead, 25
+
+Dighton Rock. The, 93
+
+Directory. A Lamp-post, 98
+
+Dismissal of an Architect. The Right of, 158
+
+Divining-rod. The, 15
+
+Domes. Spires, Towers and, 91, 101
+
+Domestic Architecture. Civil and, 19, 35, 51, 67, 83
+
+Doors. Fire, 156
+
+Drawing Instruments. A Yale Professor's Trouble through Prescribing,
+    66
+
+Drawings at Architectural League Exhibition, 40, 57, 143
+   "     "  Philadelphia. Exhibition of Architectural, 107, 146
+   "     "Black-lining" Competition, 65
+
+Durand, Architect. Death of George F., 1
+
+Duty on Window-glass. The, 31
+
+
+Earnings of Architects. The, 1
+
+East River Tunnel. The Proposed, 178
+
+Education in Canada. The History of, 183
+
+Effigies. Funeral, 164
+
+Egyptian Architecture, 20
+   "     Fortifications. Ancient, 179
+   "     Tombs, 99, 115
+
+Eight-hour Movement. The, 1, 93, 194
+
+ELECTRIC:--
+  Light at the British Museum, 104
+  Lights and Motors, 79
+  Railways, 64, 111, 128
+  Reading light for Railways, 50
+  Welding, 176
+  Wire. The Queen of Greece and an, 128
+
+Electrical Terms, 44
+
+Electricity and Insurance, 79
+     "      The Dangers of, 15, 27
+
+Elevator in Stockholm. An American, 111
+
+Emperor Frederick. A Statue of the, 208
+
+Engine. A new Style of Railway, 82
+
+Engineer and our Public Buildings. The Army, 143
+
+ENGINEERING:--
+  Bridge. A complete Account of the Forth, 177
+     "    for Amsterdam. High-level, 47
+     "    London's Tower, 192
+     "    Testing the Forth, 160
+     "    The Hawkesbury Railway, 106
+     "    in China. Ancient, 96
+  Dam. The Straits of Belle Isle, 48
+  Docks at Vizagapatam. Mud, 63
+  Electric Railways, 64, 111
+  Elevator in Stockholm. American, 111
+  Railroad. A Pneumatic Street, 95
+     "      for Baltimore. A Proposed Belt-line, 188
+  Tower for the Exhibition of 1892. High, 177
+    "   The Watkin, 16, 105
+  Tunnel. The East River, 178
+     "     "  St. Clair River, 128
+     "     "  Washington Aqueduct, 103
+  Water-power. A Remarkable, 47
+
+"Entombment" in Mexico. A Titian, 60
+
+Entombment. Sanitary, 24
+
+Episcopal Cathedral, New York, Competition, 40, 62
+
+Equestrian Monuments, 72, 170
+
+Estimates. Builders' and Sub-Contractors', 161
+
+Ethnology's Fifth Annual Report. The Bureau of, 151
+
+Etruscan Architecture, 36
+   "     Tombs, 131
+
+Evanston, Ill. Architecture at, 118
+
+Evaporation of Water in Traps, 15
+
+Examinations and Diplomas. Architects', 162
+
+EXHIBITION:--
+  Architectural League. The, 40, 57, 143
+  Boston Architectural Club, 95
+  of 1892. The Chicago, 177
+
+EXHIBITIONS:--
+  of Architectural Drawings at Philadelphia, 107, 146
+
+EXPOSITION OF 1889:--
+  Algerian Pavilion at the, 105
+  Buildings of the, 21, 105
+  Cairo Street at the, 105
+  Cochin-Chinese Pavilion at the, 106
+  Colonial Sections at the, 105
+  Double Statue at the, 32
+  Forestry Pavilion at the, 105
+  History of Habitation at the, 149, 168
+  Indian Pavilion at the, 105
+  Palaces of Liberal and Fine Arts, 21
+  Pavilions at the. The City of Paris, 21
+  Portuguese Pavilion at the, 105
+  Sanitary Exhibits at the, 21
+  Spanish Pavilion at the, 105
+  Tunisian Pavilion at the, 106
+  Views of Old Paris at the, 21
+
+
+Fall of a Hotel in Sydney, N.S.W., 184
+  "  "  St. Louis Academy of Music, 66
+  "  "  the Roof of the Flora Hall, Hamburg, 196
+
+Ferstel. Baron, 66
+
+Feudal Military Architecture, 195
+
+Fifteenth Century "Working-day." A, 155
+
+FIRE:--
+  Apparatus, 29
+  Backs, 201, 203
+  Destruction of Toronto University by, 182
+  Doors, 156
+  Engines. Borrowing Suburban, 18, 146
+  in Secretary Tracy's House. The, 186
+  Loss. Reducing the, 28
+
+Fireplace Throat. The Open, 159
+
+Fireproof Floor. The Schneider, 158
+    "     Whitewash, 208
+
+FIRES:--
+  in American Cities, 97
+  "  Mills. Extinguishing, 177
+  Water Used in Boston, 79
+
+"Flats," 3
+
+Flues. Floor-beams and, 146
+
+Floor. Beams and Flues, 146
+  "    The Schneider Fireproof, 158
+
+Font in St. Peter Mancroft, 62
+
+Forth Bridge Issue of "_Engineering_," 177
+  "     "    Testing the, 160
+
+Fortifications. Ancient Egyptian, 179
+      "         Assyrian, 179
+      "         Greek, 179
+      "         Modern, 195
+      "         Roman, 180
+
+Foundation of Dry "Concrete." A, 113
+
+Foundations. A New Process of Preparing, 160
+
+France. Architectural Education in, 162
+
+Frederick the Great's Tomb, 144
+
+Freestone-Cutters. Lock-out among Boston, 161, 177
+
+Fremiet's Figure of Condé, 76
+
+French Architects. Proposed Licensing of, 162
+  "         "      The Responsibility of, 2
+
+Frost on Stone. The Action of, 98
+
+Funerary Architecture, 99, 115, 131, 147, 163
+
+
+Gallic Architecture, 52
+
+Garnier's History of Habitation, 149, 168
+
+Gates for Cologne Cathedral. Bronze, 135
+
+Geneva. The Brunswick Monument at, 16
+
+German Building Contracts, 82
+   "   Construction, 155
+
+Glass. The Duty on Window, 31
+   "   The Salviati Murano, 207
+   "   Lined Tubes for Underground Wires, 160
+
+Grant Monument Competition. The, 145
+
+Gravity Transit, 178
+
+Great Wall of China. The, 19
+
+Greek Architecture, 35
+  "   Fortifications, 179
+  "   Mouldings, 139
+  "   Tombs, 131
+
+"Gods," Mexico. "The City of the," 172
+
+Gustavus Adolphus. Statue of, 74
+
+Gutters on the Albany Capitol. Defective, 97
+
+
+Habitation. History of, 149, 168
+
+Halls. The Sizes of Some Large, 184
+
+Hand _vs._ Machine Work, 108
+
+Hawkesbury Railway Bridge. The, 106
+
+Hawthorn Tree of Cawdor. The, 110
+
+Hay Fuel, 159
+
+Heat. Loss of Power by Radiation of, 22, 157
+
+Heating by Hot-water, 33
+
+Hindoo Architecture, 19
+  "    Tombs, 148
+
+History of Habitation, 149, 168
+
+Horse in Sculpture. The, 72, 170
+
+Hot-water Heating, 33
+
+Hotel. A Paper, 160
+  "    at the Pyramids. A, 160
+
+House of St. Simon, Angoulême, 61
+
+Houses for Workingmen, 105
+
+Hungary. Railway Zones in, 178
+
+Hydraulic Power in London, 155
+    "     Pressure. Rocks Upheaved by, 26
+
+Hypogea, 115
+
+
+Ice for Domestic Use, 34
+ "  Skating-rink. An Artificial, 145
+ "  The Power of, 118
+
+Illinois Chapter A.I.A. The, 182
+
+Incomes of Architects. The, 1, 47, 127
+
+India-rubber Paving, 192
+
+Industrial Museum. The Berlin, 174
+
+Inspection of Buildings in New York, 31
+     "     "  School-houses. State, 129
+
+Insurance. A Question of, 18, 146
+    "      and Electricity, 79
+    "      and Safe Building, 49, 97
+    "      Company. Annual Report of Boston Manufacturers Mutual Fire, 177
+    "      Companies and Building Construction. The, 49, 97
+
+Interiors. Photographing, 96
+
+International Edition. Our, 17, 18, 65
+
+Iron and its Treatment for Artistic Purposes. Cast, 201
+
+
+Japanese Collections at the Boston Art Museum. The, 192
+
+Jewels in Burmese Temples, 58
+
+Jewish Architecture, 20
+
+Judean Tombs, 117
+
+
+Keely, Architect. Death of Charles, 18
+
+Kirby's Drawings. Mr. H. P., 107
+
+
+Labor Syndicates. Contract-taking, 194
+  "   Troubles, 130, 161, 177, 193
+
+Lamp-post Directory. A, 98
+
+Land Values in Milwaukee, 160
+
+"Lantern of the Dead." The, 164
+
+Laths. A Corner in, 192
+
+Lead-pencils, 178
+
+League Exhibition. The Architectural, 40, 57, 143
+
+Leclère Prize. The Achille, 50
+
+LEGAL:--
+  Alterations and Old Material, 109
+  Boston Building Laws. The, 109
+  Commission on a Standing Party-wall, 142
+  Compensation for Designs, 31
+  Competitor's Suit against a Building-committee. A, 104
+  Contracts. Importance of Written, 65
+  Dismissal. Right of, 158
+  Libel Suit between Architects. A, 206
+  Lien Law. The New Rhode Island, 113
+  Owner's Right to Build. An, 97
+  Responsibility of Architects. The, 2, 130
+  Suit against a Railroad. An Architect's, 194
+  "Trolley" System. Decision against the, 128
+  Understanding between Architect and Client, 159
+  Van Beers Suits. The, 80
+
+Leighton on a Device of Spanish Architecture. Sir Frederick, 146
+
+LETTERS FROM:--
+  Australia, 106, 183
+  Boston, 190
+  Canada, 41, 104, 182
+  Chicago, 118, 182
+  London, 42, 104
+  New York, 108
+  Paris, 21, 105, 185
+  Philadelphia, 197
+  Washington, 43, 186
+
+Libel-suit between Architects. A, 206
+
+Licensing of Architects. The, 162
+
+Lien Law. The New Rhode Island, 113
+
+Light-house at Houstholm. The, 88
+
+Lighting Effects. Picturesque Interior, 146
+
+Lime in Architect's Specifications, 161
+
+Lock-out among Boston Freestone-Cutters, 161, 177
+
+Locomotive. A New Style of, 82
+
+Locrian Town. The Site of a, 16
+
+LONDON:--
+  British Museum. Electric-light at the, 104
+  County Council. The, 104
+  Houses for Workingmen, 105
+  Hydraulic Power. The Distribution of, 155
+  Letters from, 42, 104
+  National Portrait Gallery. The New, 208
+  Prize-men of the R.I.B.A., 104
+  St. Saviour's, Southwark, 43
+  Subways for. Proposed, 43
+  Tower Bridge. The, 192
+  Waterhouse's Annual Address before the R.I.B.A. Mr., 42
+  Watkin Tower. The, 16, 105
+
+Lottery. Church Restoring by, 128
+
+Louis XIV. Equestrian Statues of, 170
+
+Lowell City-hall Contracts. The, 194
+
+
+Machine-work. Hand _vs._, 103
+
+Magnesia Coverings for Steam-pipes, 23, 157
+
+Manual Training-school Pupils, 96
+
+Marble and Freestone Cutters, 161
+   "   Beryt or Fluid, 160
+
+Marcus Curtius. Statue of, 172
+
+Massachusetts. State Inspection of School-houses in, 129
+
+Master-builders' Attempt to Discipline Architects. The
+    Philadelphia, 161
+
+Mausoleums, 133
+
+Maximilian at Innsbruck. Tomb of, 61
+
+Maximilian I. Statue of, 76
+
+Maya. Temples of Ancient, 204
+
+McAlpine, Civil Engineer. Death of, W. J., 129
+
+McArthur, Jr., Architect. Death of John, 33
+   "       "   The Late John, 48
+
+Mediæval Architecture, 52, 67
+    "    Cemeteries, 164
+    "    Tombs, 163
+
+Mesopotamia. Explorations in, 160
+
+Metal. A new Composite, 93
+
+Mexican Congressional Palace. The Proposed, 96
+   "    Pyramids, 172
+
+Mexico. A Titian "Entombment" in, 60
+  "     "The City of the Gods," 172
+
+Milan Cathedral. The Completion of, 130
+
+Military Architecture, 179, 195
+
+Mill-construction. Improvements in, 177
+
+Millet's "Angelus," 12
+
+Milwaukee. Land Values in, 160
+
+Missouri State Association of Architects, 46
+
+Modern Fortifications, 195
+  "    Tombs, 166
+
+Monolithic Church of St. Emilion, 16
+
+Mons. The Cathedral of, 114
+
+Monument to the Emperor William. National, 32
+   "     "  Prison-ship Martyrs, 128
+
+Monuments. Equestrian, 72, 170
+    "      Funerary, 99, 115, 131, 147, 163
+    "      New York, 151
+
+Mosaic. The Salviati, 208
+
+Mouldings. Greek, 139
+
+Mud-docks at Vizagapatam, 63
+
+Mummy Cats. Egyptian, 208
+
+Munich. The Royal Polytechnicum at, 181
+
+Museum of Fine Arts, Boston. The, 175, 190
+  "    The Cost of a small, 23
+
+Mussulman Architecture, 52
+
+
+Naples. Heavy Rains at, 95
+
+National Portrait Gallery, London. The New, 208
+
+Natural-gas Supply. The, 32
+
+Neutral Axis. To Find the, 111
+
+New South Wales Institute of Architects. Quarrel in the, 183
+
+NEW YORK:--
+  Architectural League Exhibition, 40, 57, 143
+  Architecture. Color in, 108
+  Barye Exhibition. The, 10
+  City-hall Park. The, 138
+  East River Tunnel. The, 178
+  Episcopal Cathedral Competition. The, 40, 62
+  Inspection of Buildings in, 31
+  Letters from, 108
+  Monuments, 151
+  Obelisk. The Protection of the, 178, 207
+  Paintings at the Barye Exhibition, 11
+  Tenement-houses, 89, 119
+
+Newark Architectural Sketch-Club, 30
+
+Northwestern University. The Buildings of the, 118
+
+Nun. A Written Contract Necessary even when Dealing with a, 65
+
+
+Oak-trees built into Chimney-walls, 146
+    "     Warfare on, 10
+
+Obelisk. Protection of the New York, 198, 207
+
+OBITUARY:--
+  André. Jules, Architect, 145
+  Brentano. Signor, Architect, 130
+  Clark. George, Architect, 63
+  Durand. George F., Architect, 1
+  Keely. Charles, Architect, 18
+  McAlpine. W. J., Civil Engineer, 129
+  McArthur, Jr. John, Architect, 33
+  Oudinot. Eugène, Glass-stainer, 81
+  Roberts. E. L., Architect, 177
+  Sidel. Edouard, Architect, 113
+  Wells. Joseph M., Architect, 95
+
+Office. A Chicago Architect's, 50
+
+Ontario Association of Architects, 41
+
+Open-fireplace Throat. The, 159
+
+Oriental Textiles at Berlin, 175
+   "     Tombs, 148
+
+Oudinot, Glass-stainer. Death of Eugène, 81
+
+Owner's Right to Build. An, 97
+
+
+Paint for Underground Work. A Cheap, 146
+
+Painting on Cemented Surfaces, 146
+
+Paintings at the Barye Exhibition, 11
+   "      "   "  Boston Art Museum, 191
+
+Palace of San Giorgio, Genoa, 64
+
+Paper Hotel. A, 160
+
+Paraffine Process used on the Egyptian Obelisk. The, 178, 207
+
+PARIS:--
+  Bourse du Commerce. The New, 185
+  Bull-fights in, 130
+  Bull-ring Proposed for. A, 50
+  Halle au Blé. The, 185
+  Lamp-post Directory. A, 98
+  Letters from, 21, 105, 185
+  Model School-house. A, 82
+  Peabody Homes in, 56
+  Plasterers, 94
+  _Salons_. The Proposed two, 80
+  Skating-rink. An Artificial Ice, 145
+
+PARIS EXPOSITION:--
+  Algerian Pavilion at the, 105
+  Buildings of the, 21, 105
+  Cairo Street at the, 105
+  Cochin-Chinese Pavilion at the, 106
+  Colonial Sections at the, 105
+  Double Statue at the, 32
+  Forestry Pavilion at the, 105
+  History of Habitation at the, 149, 168
+  Indian Pavilion at the, 105
+  Palaces of Liberal and Fine Arts, 21
+  Pavilions at the. The City of Paris, 21
+  Portuguese Pavilion at the, 105
+  Sanitary Exhibits at the, 21
+  Spanish Pavilion at the, 105
+  Tunisian Pavilion at the, 106
+  Views of Old Paris at the, 21
+
+Pavement. India-rubber, 192
+
+Pavements. Cast-iron, 192
+
+Paving. Asphalt, 82
+
+Peabody Homes in Paris, 56
+
+Pencils. Lead, 178
+
+Persian Court Art, 16
+   "    Tombs, 117
+
+PHILADELPHIA:--
+  Architectural Exhibition at the Art Club, 146
+       "            "      at the Penn. Academy, 107
+  Chapter, A.I.A., 46
+  Letters from, 107
+  Master-builders' Attempt to Discipline Architects. The, 161
+  T-Square Club, 206
+
+Phoenician Architecture, 20
+    "      Tombs, 117
+
+Photographing Interiors, 96
+
+Pirating Sculpture, 160
+
+Planning of School-buildings. The, 81
+
+Plaster-of-Paris and Marshmallow, 48
+
+Plasterers. Paris, 94
+
+Plate-glass. Protecting, 8
+     "       Works Convention. The, 176
+
+Pneumatic Street Railroad. A, 95
+
+Polytechnicum at Munich. The Royal, 181
+
+Polytechnique. The Zurich, 154
+
+Power in London. Hydraulic, 155
+  "    Lost by Radiation of Heat, 22, 156
+
+Prehistoric Ruins of Yucatan. The, 58
+
+Prints. Arranging Architectural, 207
+
+Prison-ship Martyrs' Monument. The, 128
+
+Prize-winners. The R.I.B.A., 104
+
+Profit-sharing. A Contractor's, 2, 43
+
+Protecting Building Stone, 98
+
+Public Buildings in Canada. Proposed, 104
+
+Pueblo Indians and the Works of the Rio Grande Irrigation Co. The, 63
+
+Pyramids, 100
+   "      A Hotel at the, 160
+   "      Mexican, 172
+
+
+Quebec City-hall Competition. The, 63
+
+Queen of Greece and an Electric-wire. The, 128
+
+
+Radiation of Heat. Loss of Power by, 22, 156
+
+Railroad. A Pneumatic Street, 95
+    "     An Architect's Suit against a, 194
+
+Railway Bridge. The Hawkesbury, 106
+   "    Zones in Hungary, 178
+
+Railways. Electric, 64, 111, 128
+
+Rains at Naples. Heavy, 95
+
+Rantzau. Statuette of Marshal, 76
+
+Rapid Transit for Chicago, 182
+
+Ravenna. The Early Christian Tombs at, 147
+
+Reading-light for Railways. Electric, 50
+
+Registration of Architects in Canada. The, 183
+
+Renaissance Architecture, 69
+     "      Tombs, 165
+
+Report of Boston Manufacturers Mutual Fire Insurance Company. Annual, 177
+  "    The Bureau of Ethnology's Fifth Annual, 151
+
+Reputation of Architects. The Influence of Architectural Journals on
+    the, 17
+
+Residence in Various Countries. Concentrated, 88, 119
+
+Responsibility of Architects. The, 2, 130
+
+Revising Bids. The Right of, 194
+
+Rhode Island Lien Law. The New, 113
+
+Richardson, H. H., 145
+
+Rio Janeiro. The Sewage of, 156
+
+Roberts, Architect. Death of E. L., 177
+
+Rock. The Dighton, 93
+
+Rocks Upheaved by Hydraulic Pressure, 26
+
+Roman Architecture, 36, 51
+  "   Catholic Buildings in Australia, 107
+  "   Fortifications, 180
+  "   Tombs, 133
+
+Romanesque Tombs, 163
+
+ROME:--
+  Castle of St. Angelo. The, 208
+  Vandalism in, 79
+  Vatican Museum. The, 208
+  Viaduct in. Discovery of an Ancient, 80
+
+Rotting. To Prevent Wood from, 146
+
+Royal Institute of British Architects. Prize-winners, 104
+
+Ruskin and His Work. John, 49
+
+
+Safe Building, 121, 135, 197
+
+St. Alban's Abbey. The Restoration of, 42
+ "  Angelo, Rome. The Castle of, 208
+ "  Clair River Tunnel. The, 128
+ "  Emilion. The Monolithic Church of, 16
+ "  Louis Academy of Music. Fall of, 66
+ "    "   Chapter, A.I.A., 206
+ "  Regulus Church. St. Andrews, 45
+ "  Salvator's Church, St. Andrews, 46
+ "  Saviour's, Southwark. The Restoration of, 43
+ "  Sebald. Restoring the Church of, 128
+
+_Salons_. The Proposed Two, 80
+
+Salviati. Death of Dr., 208
+
+Sandstone. The Structure of, 9
+
+Sandy Foundations, 160
+
+SANITARY:--
+  Concentrated Residence in Various Countries, 88, 119
+  Dessication of the Dead, 25
+  Entombment, 24
+  Exhibits at the Paris Exposition, 21
+  Inspection of New York Buildings, 31
+  Sewage of Rio Janeiro. The, 156
+  Tenement-houses, 88, 119
+  Ventilation of School-buildings, 82, 129
+
+Sarcophagi, 163
+
+Scaffold Accidents, 104
+
+Scandinavian Art, 37, 53, 63
+
+Schliemann _vs._ Dr. Botticher. Dr., 144
+
+Schmiedbarenguss, 93
+
+Schneider Fireproof Floor. The, 158
+
+Scholar. Our Travelling. 153, 181
+
+School-buildings. The Planning of, 81
+  "    House at Evanston, Ill. A, 118
+  "      "   The Model, 82
+  "    Houses. Books on, 207
+  "      "     The Ventilation of 82, 129
+
+Sculpture and Architecture, 7
+    "     Pirating, 160
+    "     The Horse in, 72, 170
+
+Sewage of Rio Janeiro. The, 156
+
+Sgraffito-work, 154
+
+Shades and Shadows. Architectural, 56
+
+Sidel, Architect. Death of Edouard, 113
+
+Skating-rink in Paris. An Artificial-Ice, 145
+
+Slater Memorial Museum. The, 23
+
+Slow-burning Construction, 29, 97
+
+Soldiers' Home at Washington. The, 143
+
+South America. Architects in, 18
+
+Spanish Architecture. A Device of, 146
+
+Specifications Should be _Specific_. Good, 161
+
+"Spectator" on the Underwriters' Interest in Building. The, 49
+
+Spires, Towers and Domes, 91, 101
+
+Sprinklers in Mills. Automatic, 177
+
+Stand-pipes and the Underwriters, 49
+
+State Architect. The New York, 206
+
+Statue Giving a Double Image, 32
+  "    of the Emperor Frederick. A, 208
+
+Steam-pipes and Woodwork, 48
+     "      Coverings for, 22, 156
+
+Steel Company's Works near Baltimore. The Pennsylvania, 188
+
+Stelæ, 99, 115
+
+Stevens, Sculptor. Alfred, 201, 203
+
+Stockholm. An American Elevator in, 111
+
+Stones. The Decay of Building, 98
+
+Straightening Walls, 22
+
+Strasbourg Cathedral, 153
+    "      University, 154
+
+Stray Thoughts for Young Architects, 90
+
+Strikes and Lockouts. Threatened, 130
+
+Styles. Changes of Architectural, 108
+
+Subterranean Tombs, 115, 147
+
+Suburban Building in Chicago, 132
+
+Subways in London. Proposed, 43
+
+Suspension-bridges. Chinese, 96
+
+Swedish Penalties for Bad Building, 72
+
+Syndicate. Proposed Contracting, 81
+
+Syndicates. Contract-taking Labor, 191
+
+
+Tapestries at Berlin. Exhibition of Textiles and, 174
+
+Tariff on Works of Art. The, 18
+
+Taxation of Roman Catholic Property in Montreal. The Exemption
+    from, 42
+
+Technical College. The Berlin, 140
+
+Temples of Ancient Maya, 204
+
+Tenement-houses, 88, 119
+
+Teotihuacan, Mexico, 172
+
+Testing the Forth Bridge, 160
+
+Textiles and Tapestries at Berlin. Exhibition of, 174
+
+Thirty Year's War. The, 72
+
+Thoughts for Young Architects. Stray, 90
+
+Titian "Entombment" in Mexico. A, 60
+
+Tobacco in England. The first Use of, 110
+
+Tomb. Cleopatra's, 141
+  "   Frederick the Great's, 144
+  "   of Cecilia Metella, 134
+  "   "  Maximilian at Innsbruck, 61
+
+TOMBS:--
+  Assyrian, 116
+  Egyptian, 99, 115
+  Etruscan, 131
+  Greek, 131
+  Hindoo, 148
+  Judean, 117
+  Mediæval, 163
+  Modern, 166
+  Oriental, 148
+  Persian, 117
+  Phoenician, 117
+  Renaissance, 165
+  Roman, 133
+  Romanesque, 163
+  Subterranean, 115, 147
+
+TORONTO:--
+  Architectural Sketch-Club, 142
+  Burning of the University. The, 182
+  Proposed Improvements in, 42
+
+Tower for the Exhibition of 1892. High, 177
+  "   The Watkin, 16, 105
+
+Towers and Domes. Spires, 91, 101
+
+Towns. The Laying-out of, 184
+
+Tracy's House. The Fire in Secretary, 186
+
+Trade Surveys, 16, 32, 48, 64, 80, 96, 112, 128, 144, 160, 176,
+    192, 208
+
+Trades-unions, 193
+
+Training-school Pupils, 96
+
+Traps. Evaporation of Water in, 15
+
+Travelling-Scholar. Our, 153, 181
+
+"Trolley" System. Decision against the, 128
+
+T-Square Club, Philadelphia. The, 206
+
+Tumuli. Celtic, 99
+
+Tunnel. The East River, 178
+   "     "  St. Clair River, 128
+   "     "  Washington Aqueduct, 103
+
+
+Underground Wires. Glass-lined Tubes for, 160
+     "      Work. A Cheap Paint for, 146
+
+Understanding between Architect and Client. The, 159
+
+Underwriter's Interest in Building. The _Spectator_ on the, 49
+
+Undermining. Well-sinking by, 98
+
+University. Strasbourg, 154
+
+Uxmal, 204
+
+
+Van Beers. The Artist Jan, 80
+
+Vandalism in Rome, 79
+
+Vane in Burmah. A Jewelled, 58
+
+Vatican. Art at the, 208
+
+Ventilating Wooden Columns, 31
+
+Ventilation of School-buildings, 82, 129
+
+Verplanck Homestead. The, 26
+
+Viaduct in Rome. Discovery of an Ancient, 80
+
+Vikings. The Art of the, 37, 53
+
+
+Walking Delegate. The Power of a, 193
+
+Wall. Collapse of a Retaining, 113
+
+Walls. Straightening, 22
+
+Walnut Logs, 192
+
+Warren's Sketches at the League Exhibition. Mr., 57, 143
+
+WASHINGTON:--
+  Aqueduct Tunnel. The, 103
+  Building in. Recent and Future, 44
+  Chapter, A.I.A., 43
+  Letters from, 43, 186
+  Railroad. A Pneumatic Street, 95
+  Soldiers' Home Building. The, 143
+  Tracy's House. The Fire in Secretary, 186
+
+Water-color Drawings. Architectural, 107
+     "      Painting. Books on, 31
+
+Waterhouse's Annual Address before the R.I.B.A. Mr., 42
+
+Water-power. A Remarkable, 47
+  "   supply of London. The, 156
+  "   used in Boston Fires, 79
+
+Watkin Tower. The, 16, 105
+
+Wattle-tree. The, 10
+
+Welding. Electric, 176
+
+Well-sinking by Undermining, 98
+
+Wells, Architect. Death of Joseph M., 95
+
+White House. The _American Architect_ Travelling-scholarship Design
+    for a new, 158
+
+Whitewash. Fireproof, 208
+
+Will. The Power of the, 112
+
+William of Orange. Statue of, 74
+
+Wood from Rotting. To Prevent, 146
+
+"Working-day." A Fifteenth-century, 155
+
+Working-drawings, 63
+
+World's Fair. The Chicago, 177, 182
+
+
+Yucatan. Ancient Temples of, 204
+   "     Exploring Expedition. A New, 112
+   "     Ruins and Works of Art in, 58
+
+
+Zones in Hungary. Railway, 178
+
+
+
+
+ILLUSTRATIONS.
+
+[_The figures refer to the number of the journal, and not to the
+page._]
+
+
+DETAILS.
+
+Old Iron and Brasswork at Providence, R.I., 737
+
+Renaissance Doorways, Toulouse, France, 737
+
+
+DWELLINGS.
+
+Balveny Castle, Scotland, 735
+
+Block of Houses for E. K. Greene, Kearney, Neb. Frank, Bailey &
+    Farmer, Architects, 741
+
+Cottage at Tuxedo, N.Y. Renwick, Aspinwall & Russell, Architects, 744
+   "    for Dr. T. H. Willard, Jr., Greenville, N.Y. Adolph Haak,
+            Architect, 737
+
+House at Malden, Mass. Chamberlin & Whidden, Architects, 738
+  "   "  Rochester, N.Y. W. C. Walker, Architect, 736
+
+HOUSE OF:--
+  J. R. Burnett, Orange, N.J.  F. W. Beall, Architect, 743
+  C. H. Elmendorff, Kearney, Neb. Frank, Bailey & Farmer, Architects, 737
+  C. De Lacey Evan, Ruxton, Md. E. G. W. Dietrich, Architect, 734
+  Geo. W. Frank, Kearney, Neb. Frank, Bailey & Farmer, Architects, 743
+  Capt. Jesse H. Freeman, Brookline, Mass. W. A. Rodman, Architect, 738
+  Prof. C. E. Hart, New Brunswick, N.J. H. R. Marshall, Archt., 736
+  J. H. Howe, Rochester, N.Y. Nolan Bros., Architects, 736
+  Julius Howells, Chicago, Ill. Wm. H. Pfau, Architect, 740
+  A. H. Stem, Minnetonka Beach, Minn. A. H. Stem, Architect, 741
+  W. S. Wells, Newport, R.I. G. E. Harding & Co., Architects, 736
+  Albert Will, Rochester, N.Y. Otto Block, Architect, 735
+
+Houses for Potter Palmer, Chicago, Ill. C. M. Palmer, Architect, 735
+   "    "  Dr. A. Wharton, St. Paul, Minn. A. H. Stem, Architect, 739
+
+Netley Corners, Minneapolis, Minn. J. C. Plant, Architect, 744
+
+Premises of G. G. Booth, Detroit, Mich. Mason & Rice, Architects, 740
+
+Suggestion for the Executive Mansion by Theodore F. Laist. Successful
+    Design for the American Architect Travelling-Scholarship.
+
+Workman's Dwelling-house on the Cohesive System, 739
+
+
+ECCLESIASTICAL.
+
+Aberbrothwick Abbey, Arbroath, Scotland, 732
+
+Baptist Church, Gardiner, Me. Stevens & Cobb, Architects, 737
+
+Cathedral of St. Machar, Aberdeen, Scotland, 733
+
+Chapel, St. Paul's School, Concord, N.H. Henry Vaughan, Architect, 742
+
+Competitive Design for First Baptist Church, Malden, Mass. Lewis &
+    Phipps, Architects, 740
+
+COMPETITIVE DESIGN FOR THE:--
+  Cathedral of St. John the Divine, New York, N.Y.
+    Glenn Brown, Architect, 732
+    Cram & Wentworth, Architects, 738 (_Imp._)
+    B. G. Goodhue, Architect, 738 (_Imp._)
+    J. R. Rhind, Architect, 743 (_Imp._)
+
+Congregational Church, Wakefield, Mass. Hartwell & Richardson,
+    Architects, 744
+
+Dalmeny Church, Linlithgow, Scotland, 743 (_Imp._)
+
+Design for Presbyterian Church, Memphis, Tenn. W. Albert Swasey,
+    Architect, 742
+
+First Baptist Church, Elmira, N.Y. Pierce & Dockstader, Architects,
+    739
+
+Memorial "Church of the Angels," Los Angeles, Cal. E. A. Coxhead,
+    Architect, 733
+
+St. Augustine Roman Catholic Church Buildings, Brooklyn, N.Y. Parfitt
+    Bros., Architects, 733
+ "  Luke's Church, Mansfield, O. W. G. Preston, Architect, 744
+ "  Regulus's Church, St. Andrews, Scotland, 734 (_Imp._)
+ "  Salvator's Church, St. Andrews, Scotland, 734 (_Imp._)
+
+Sketch for a Church. Edward Stotz, Architect, 742
+
+Throop Ave. Presbyterian Church, Brooklyn, N.Y. Fowler & Hough,
+    Architects, 742
+
+
+EDUCATIONAL.
+
+High School, Cambridge, Mass. Chamberlin & Austin, Architects, 743
+  "     "    Los Angeles, Cal. J. N. Preston & Son, Architects, 738
+
+School-house, Lewiston, Me. Geo. F. Coombs, Architect, 735
+
+University, Strasbourg, Germany. Prof. Worth, Architect, 741
+
+
+FOREIGN.
+
+Aberbrothwick Abbey, Arbroath, Scotland, 732
+
+Balveny Castle, Scotland, 735
+
+Cathedral of St. Machar, Aberdeen, Scotland, 733
+
+Central Dome of Exhibition Buildings, Paris, France, 740
+
+Dalmeny Church, Linlithgow, Scotland, 743 (_Imp._)
+
+Hall, Craigievar Castle, Aberdeen, Scotland, 743 (_Imp._)
+
+Renaissance Doorways, Toulouse, France, 737
+
+St. Regulus's Church, St. Andrews, Scotland, 734 (_Imp._)
+ "  Salvator's Church, St. Andrews, Scotland, 734 (_Imp._)
+
+Tower, St. Etienne du Mont, Paris, France, 737
+
+Town Hall, Sydney, N.S.W., 743
+
+University, Strasbourg, Germany. Prof. Worth, Architect, 741
+
+
+HOTELS.
+
+Alicia Springs Hotel, Pennfield, Pa. E. Culver, Architect, 738
+
+Hotel de Soto, Savannah, Ga. W. G. Preston, Architect, 733
+
+Sketch for Hotel at Norton, Va. Geo. T. Pearson, Architect, 734
+
+
+INTERIORS.
+
+Hall, Craigievar Castle, Aberdeen, Scotland, 743 (_Imp._)
+ "    in House of W. R. Ray, Los Angeles, Cal. W. Redmore Ray,
+          Architect, 740
+
+Sitting-room in House of J. H. Howe, Rochester, N.Y. Nolan Bros.,
+    Architects, 736
+
+
+MERCANTILE.
+
+Anniston City Land Co. Building, Anniston, Ala. Chisolm & Green,
+    Architects, 734
+
+Building for the Boston Real Estate Trust. Cabot, Everett & Mead,
+    Architects, 744
+
+Design for an Office-building, Boston, Mass. C. H. Blackall, Archt.,
+    734
+
+Factory Building, on the Cohesive System, 739
+
+Sketch of Store, Boston, Mass. Wait & Cutter, Architects, 732
+
+
+MISCELLANEOUS.
+
+Alcove Sleeping-car, 742
+
+Heads of Mexican Gods, 742
+
+Vault, Greenwood Cemetery, Brooklyn, N.Y. Renwick, Aspinwall &
+    Russell, Architects, 744
+
+
+PUBLIC.
+
+Central Dome of Exhibition Buildings, Paris, France, 740
+
+Town-hall, East Providence, R.I. W. K. Walker & Son, Architects, 738
+    "      Sydney, N.S.W., 743
+
+
+RAILROAD.
+
+Competitive Designs for Railroad-stations, by the Rochester
+    Architectural Sketch Club, 738
+
+
+STABLES.
+
+Sketch of Stable, Paterson, N.J. C. Edwards, Architect, 735
+
+
+TOWERS AND SPIRES.
+
+Tower, St. Etienne du Mont, Paris, France, 737
+  "    Sketched from the Competitive Design of C. B. Atwood, Architect,
+           for the New City-hall, New York, N.Y., 736
+
+Town Clock-tower. Designed by Willis Polk, Architect, 736
+
+
+BARONIAL AND ECCLESIASTICAL ANTIQUITIES OF SCOTLAND.
+
+Aberbrothwick Abbey, 732
+
+Balveny Castle, 735
+
+Castle Campbell, 739 (_Int._)
+
+Cawdor Castle, 738 (_Int._)
+
+Craigievar Castle, 743 (_Imp._)
+
+Dalmeny Church, 743 (_Imp._)
+
+St. Machar's Cathedral, 733
+ "  Regulus's Church, 734 (_Imp._)
+ "  Salvator's Church, 734 (_Imp._)
+
+
+ROTCH SCHOLARSHIP DRAWINGS.
+
+[_Published only in the Imperial and International Editions._]
+
+Angers Cathedral, 734 (_Imp._)
+
+Catania, 734 (_Imp._)
+
+Nôtre Dame, Poitiers, 734 (_Imp._)
+
+Pierrefonds, 734 (_Imp._)
+
+St. Ours, Loches, 731 (_Imp._)
+
+
+
+
+ILLUSTRATIONS.--INTERNATIONAL EDITION.
+
+[_The figures refer to the number of the journal and not to the
+page._]
+
+
+COLORED PRINTS.
+
+[_Published only in the Imperial and International Editions._]
+
+Detail of Entrance, Osborn Hall, New Haven, Conn. Bruce Price,
+    Architect, 744 (_Imp._)
+
+House of W. A. Burnham, Boston, Mass. E. C. Curtis, Archt., 739
+    (_Imp._)
+
+Ruined Chapel of Charles V, Yuste, Spain, 732
+
+Street View in Dinan, France, 736
+
+Torre del Vino, Alhambra, Granada, Spain, 732
+
+U.S. Trust Co.'s Building, New York, N.Y. R. W. Gibson, Architect, 734
+    (_Imp._)
+
+
+DETAILS.
+
+Capitals from Chamber of Commerce, Cincinnati, O. H. H. Richardson and
+    Shepley, Rutan & Coolidge, _Successors_, Architects, 740 (_Gel._)
+
+Detail of Entrance, Osborn Hall, New Haven, Conn. Bruce Price,
+    Architect, 744 (_Gel._)
+
+Entrance, Holcombe, Chatham, Eng. John Belcher, Architect, 739
+
+Font and Canopy, St. Peter, Mancroft, Norwich, Eng. Frank T.
+    Baggallay, Architect, 735
+
+House-gable on Taubenstrasse, Berlin, Germany. Herr Holst, Architect,
+    742 (_Gel._)
+
+Piers of the Cathedral Portico, Lucca, Italy, 739 (_Gel._)
+
+Porte Cochère, Paris, France, 744 (_Gel._)
+
+Portico, Ecole de Medicine, Paris, France, 741 (_Gel._)
+
+Window in Grisaille Glass. W. R. Lethaby, Designer, 740
+
+Wrought-iron Gates, Chelmsford, Eng., 732
+
+
+DWELLINGS.
+
+A Country House. Horace R. Appelbee, Architect, 732
+
+Black Knoll, Brockenhurst, Eng. R. T. Blomfield, Architect, 742
+
+Butler's Wood, Chislehurst, Eng. Ernest Newton, Architect, 733
+
+Castle Campbell, Clackmannan, Scotland, 739
+
+Cawdor Castle, Nairn, Scotland, 738
+
+Château de Josselin, Morbihan, France, 733 (_Gel._)
+
+Coombe Warren, Kingston, England. George Devey, Architect, 732, 734
+
+Folkton Manor House, Eng. E. J. May, Architect, 743
+
+Hall Place, Tonbridge, Eng. George Devey, Architect, 741
+
+Holcombe, Chatham, Eng. John Belcher, Architect, 735, 738
+
+House at Exeter, Eng. James Crocker, Architect, 733
+  "   "  Goring-on-Thames, Eng. Geo. W. Webb, Architect, 740
+  "   "  Tunbridge Wells, Eng. George Devey, Architect, 741
+
+House-gable on Taubenstrasse, Berlin, Germany. Herr Holst, Archt., 742
+    (_Gel._)
+
+House, James St., Buckingham Gate, London, Eng. R. T. Blomfield,
+           Architect, 742
+  "    near Birmingham, Eng. Essex & Nicol, Architects, 743
+
+HOUSE OF:--
+  J. Benic, Karlstadt, Austria. Hans Pruckner, Architect, 743 (_Gel._)
+  Mrs. Charles Blake, Boston, Mass. Sturgis & Cabot, Archts., 732
+      (_Gel._)
+  Charles F. Brush, Cleveland, O. George H. Smith, Archt., 742 (_Gel._)
+  W. A. Burnham, Boston, Mass. E. C. Curtis, Architect, 739 (_Gel._)
+  Mrs. Consino, Santiago, Chili, 733, 734
+  Señor Cuda, Santiago, Chili, 740 (_Gel._)
+  Mrs. S. T. Everett, Cleveland, O. C. F. & J. A. Schweinfurth,
+      Architects,  735 (_Gel._)
+  Herr Hatner, Buda-Pesth, Austria. Alfred Wellisch, Archt., 744 (_Gel._)
+  Mrs. T. T. Haydock, Cincinnati, O. J. W. McLaughlin, Archt., 743
+      (_Gel._)
+  Edwin Long, R.A., Hampstead, Eng. R. Norman Shaw, Architect, 744
+  Mr. McKenna, Santiago, Chili, 740 (_Gel._)
+  E. D. Pearce, Providence, R.I. Rotch & Tilden, Architects, 740
+  G. M. Smith, Providence, R.I. Stone, Carpenter & Willson, Architects,
+      733 (_Gel._)
+  St. Simon, Angoulême, France, 735
+
+House on the Rauchstrasse, Berlin, Germany. Kaiser & Grossheim,
+                 Archts., 741 (_Gel._)
+  "   "   "  Yorkstrasse, Berlin, Germany. Herr Rintz, Architect, 744
+                 (_Gel._)
+
+Mill Pond Farm, Cranbrook, Eng. M. E. Macartney, Architect, 743
+
+Official Residence of the Intendente, Santiago, Chili, 734
+
+Palace of Count Pallavicini, Vienna, Austria. Herr Von Hohenberg,
+    Architect, 743 (_Gel._)
+
+Residence of the Former Viceroy of the Province, Santiago, Chili, 738
+    (_Gel._)
+
+Semi-detached Houses, Ripon, Eng. T. Butler Wilson, Architect, 740
+
+The Gables, Felixstowe, Eng. William A. Thorp, Architect, 740
+
+Vicarage, Tweedmouth, Eng. F. R. Wilson, Architect, 744
+
+Villa Blanca, near Innsbruck, Austria. J. W. Deininger, Archt., 740
+    (_Gel._)
+
+
+ECCLESIASTICAL.
+
+All Saints' Church, Leek, Eng. R. Norman Shaw, Architect, 735
+ "     "       "    London, Eng. Christopher & White, Architects, 743
+
+Cathedral, Quimper, France, 742 (_Gel._)
+
+Chapel of St. Mary of Nazareth, Edgware, Eng. James Brooks, Architect,
+    736
+
+Church of All Saints, Falmouth, Eng. J. D. Sedding, Archt., 737
+   "   "  St. John the Baptist, Reading, Eng. E. Prioleau Warren,
+              Architect, 737
+   "   "   "  Martin, Seamer, Eng. C. Hodgson Fowler, Architect, 742
+
+Cloister, Poblet, Spain, 737 (_Gel._)
+
+COMPETITIVE DESIGN FOR THE:--
+  Cathedral of St. John the Divine, New York, N.Y.
+  Edward C. Casey, Architect, 736
+  Stephen C. Earle, Architect, 736
+  John L. Faxon, Architect, 736
+
+Design for a Village Church. Gerald C. Horsley, Architect, 740
+  "     "  Church of the Good Shepherd, London, Eng. T. Phillips Figgis,
+               Archt., 733
+
+Episcopal Church, West Medford, Mass. H. H. Richardson, Archt., 737
+    (_Gel._)
+
+Font and Canopy, St. Peter Mancroft, Norwich, Eng. Frank T. Baggallay,
+    Architect, 735
+
+Interior of St. Paul Extra Muros, Rome, Italy, 734 (_Gel._)
+    "    "  the Cathedral, Albi, France, 734 (_Gel._)
+    "    "   "  Hofkirche with Tomb of Maximilian I, Innsbruck, Austria,
+                    735 (_Gel._)
+    "    "   "  Recoletu Church, Santiago, Chili, 735 (_Gel._)
+
+Parish Room and School, Charleton, Devon, Eng. F. J. Commin,
+    Architect, 739
+
+Ruined Chapel of Charles V, Yuste, Spain, 732
+
+Wesleyan Chapel, Leeds, Eng. T. Butler Wilson, Architect, 734
+
+
+EDUCATIONAL.
+
+Board School, Bromley, Kent, Eng. Vacher & Hellicar, Architects, 739
+
+COMPETITIVE DESIGN FOR:--
+  Gymnasium for Brown University, Providence, R.I.
+    Gould & Angell, Architects, 741
+    Stone, Carpenter & Willson, Architects, 741
+
+Design for a Board School. Geo. W. Webb, Architect, 733
+
+Old Façade, Ecole de Medecine, Paris, France, 741 (_Gel._)
+
+Osborn Hall, New Haven, Conn. Bruce Price, Architect, 741 (_Gel._)
+
+Parish Room and School, Charleton, Devon, Eng. F. J. Commin,
+    Architect, 739
+
+Swimming-bath and Gymnasium, Grocers' Company's Schools, Hackney
+    Downs, Eng. Henry C. Boyes, Architect, 736
+
+
+FOREIGN.
+
+All Saints' Church, Leek, Eng. R. Norman Shaw, Architect, 735
+ "    "       "     London, Eng. Christopher & White, Archts., 743
+
+Arch of Septimus Severus, Rome, Italy, 734
+
+Auditorium of the Palace of the Trocadéro, Paris, France, 732 (_Gel._)
+
+"Bargello," Florence, Italy. The, 734
+
+Black Knoll, Brockenhurst, Eng. R. T. Blomfield, Architect, 742
+
+Board School, Bromley, Kent, Eng. Vacher & Hellicar, Architects, 739
+
+Business Premises, London, Eng. Frederick Wallen, Architect. 738
+
+Butler's Wood, Chislehurst, Eng. Ernest Newton, Architect, 733
+
+"Ca' d'Oro," Venice, Italy. The, 734
+
+Castle Campbell, Clackmannan, Scotland, 739
+
+Cathedral, Quimper, France, 742 (_Gel._)
+
+Cawdor Castle, Nairn, Scotland, 738
+
+Chapel of St. Mary of Nazareth, Edgware, Eng. James Brooks, Architect,
+    736
+
+Château de Josselin, Morbihan, France, 733 (_Gel._)
+
+Church of All Saints, Falmouth, Eng. J. D. Sedding, Archt., 737
+  "    "  St. John the Baptist, Reading, Eng. E. Prioleau Warren,
+                  Architect, 737
+  "    "   "  Martin, Seamer, Eng. C. Hodgson Fowler, Architect, 742
+
+Clee Park Hotel, Grimsby, Eng. E. W. Farebrother, Architect, 738
+
+Cloister, Poblet, Spain, 737 (_Gel._)
+
+Congress Hall and Chamber of Deputies, Santiago, Chili, 738 (_Gel._)
+
+Coombe Warren, Kingston, England. George Devey, Architect, 732
+
+Corridor in House of Edwin Long, R.A., Hampstead, Eng. R. Norman Shaw,
+    Architect, 744
+
+Design for Church of the Good Shepherd, London, Eng. T. Phillips
+    Figgis, Architect, 733
+
+Dining-room, Coombe Warren, Kingston, Eng. George Devey, Archt., 734
+
+Drawing-room, Holcombe, Chatham, Eng. John Belcher, Architect, 736
+
+Entrance, Holcombe, Chatham, Eng. John Belcher, Architect, 739
+
+Folkton Manor House, Eng. E. J. May, Architect, 743
+
+Font and Canopy, St. Peter Mancroft, Norwich, Eng. Frank T. Baggallay,
+    Architect, 735
+
+Frome Union Offices, Frome, Eng. Drake & Bryan, Architects, 744
+
+Grand Hotel, Vienna, Austria. Carl Tietz, Architect, 741 (_Gel._)
+
+Hall, Castle Campbell, Clackmannan, Scotland. The, 739
+  "   Coombe House, near Shaftesbury, Eng. E. Towry White, Architect, 736
+  "   Holcombe, Chatham, Eng. The, 738
+
+Hill Place, Tonbridge, Eng. George Devey, Architect, 741
+
+Holcombe, Chatham, England. John Belcher, Architect, 733, 736
+
+House at Exeter, Eng. James Crocker, Architect, 733
+  "   "  Goring-on-Thames, Eng. Geo. W. Webb, Architect, 740
+  "   "  Tunbridge Wells, England. George Devey, Archt., 741
+
+House-gable on Taubenstrasse, Berlin, Germany, 742 (_Gel._)
+
+House, James St., Buckingham Gate, London, Eng. R. T. Blomfield,
+           Architect, 742
+  "    near Birmingham, Eng. Essex & Nicol, Architects, 743
+
+HOUSE OF:--
+  J. Benic, Karlstadt, Austria. Hans Pruckner, Architect, 743 (_Gel._)
+  Mrs. Consino, Santiago, Chili, 733, 734
+  Señor Cuda, Santiago, Chili, 740 (_Gel._)
+  Herr Hatner, Buda-Pesth, Austria. Alfred Wellisch, Archt., 744 (_Gel._)
+  Edwin Long, R.A., Hampstead, Eng. R. Norman Shaw, Archt., 744
+  Mr. McKenna, Santiago, Chili, 740 (_Gel._)
+  St. Simon, Angoulême, France, 735
+
+House on the Rauchstrasse, Berlin, Germany. Kaiser & Grossheim,
+                 Archts., 741 (_Gel._)
+  "   "   "  Yorkstrasse, Berlin, Germany. Herr Rintz, Architect, 744
+                 (_Gel._)
+
+Interior in the Château de Josselin, Morbihan, France, 732, 733
+             (_Gel._)
+   "     of St. Paul Extra Muros, Rome, Italy, 734 (_Gel._)
+   "     "  the Cathedral, Albi, France, 734 (_Gel._)
+   "     "   "  Hofkirche, with Tomb of Maximilian I, Innsbruck, Austria,
+                    735 (_Gel._)
+   "     "   "  Recoletu Church, Santiago, Chili, 735 (_Gel._)
+
+Italian Sketches, 734
+
+Kitchen, Castello di Vincigliata, Italy. G. Fancelli, Architect, 735
+
+"Lloyds," Trieste, Austria. Baron Heinrich von Ferstel, Architect, 740
+    (_Gel._)
+
+Mill Pond Farm, Cranbrook, Eng. M. E. Macartney, Architect, 743
+
+New Bourse du Commerce, Paris, France. H. Blondel, Architect, 735
+ "  Premises, Chester, Eng. T. M. Lockwood, Architect, 737
+
+Official Residence of the Intendente, Santiago, Chili, 734
+
+Old Façade, Ecole de Medecine, Paris, France, 741 (_Gel._)
+
+Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne,
+    Paris, France, 743 (_Gel._)
+
+Palace of Count Pallavicini, Vienna, Austria. Herr Von Hohenberg,
+              Architect, 743 (_Gel._)
+  "    "  the Liberal Arts, Paris, France. J. C. Formigé, Architect, 735
+
+Parish Room and School, Charleton, Devon, Eng. F. J. Commin,
+    Architect, 739
+
+Piers of the Cathedral Portico, Lucca, Italy, 739 (_Gel._)
+
+Porte Cochère, Paris, France, 744 (_Gel._)
+
+Portico, Ecole de Medecine, Paris, France, 741 (_Gel._)
+
+Railway Tavern, Grimsby, Eng. E. W. Farebrother, Architect, 738
+
+Residence of the Former Viceroy of the Province, Santiago, Chili, 738
+    (_Gel._)
+
+Ruined Chapel of Charles V, Yuste, Spain, 732
+
+Savings Bank, Linz, Austria. Austrian Building Co., Architects, 742
+    (_Gel._)
+
+Semi-detached Houses, Ripon, Eng. T. Butler Wilson, Architect, 740
+
+Stables, Holcombe, Chatham, Eng. John Belcher, Architect, 739
+
+Street View in Dinan, France, 736
+  "     "   "  Santiago, Chili, 736 (_Gel._)
+
+Swimming-bath and Gymnasium, Grocers' Company's Schools, Hackney
+    Downs, Eng. Henry C. Boyes, Architect, 736
+
+Temples of Faustina and Romulus, Rome, Italy, 734
+
+The Gables, Felixstowe, Eng. William A. Thorp, Architect, 740
+
+Torre del Vino, Alhambra, Granada, Spain, 732
+
+Vicarage, Tweedmouth, Eng. F. R. Wilson, Architect, 744
+
+Villa Blanca, near Innsbruck, Austria. J. W. Deininger, Architect, 740
+    (_Gel._)
+
+Warehouse, Stockholm, Sweden. A. Egendomen, Architect, 735
+
+Wesleyan Chapel, Leeds, Eng. T. Butler Wilson, Architect, 734
+
+Wrought-iron Gates, Chelmsford, Eng., 732
+
+
+GELATINE.
+
+[_Published only in the Imperial and International Editions._]
+
+Auditorium of the Palace of the Trocadéro, Paris, France, 732
+
+Capitals from Chamber of Commerce, Cincinnati, O. H. H. Richardson and
+    Shepley, Rutan & Coolidge _Successors_, Architects, 740 (_Imp._)
+
+Cathedral, Quimper, France, 742
+
+Château de Josselin, Morbihan, France, 733
+
+Cloister, Poblet, Spain, 737
+
+Congress Hall and Chamber of Deputies, Santiago, Chili, 738
+
+Detail of Entrance, Osborn Hall, New Haven, Conn. Bruce Price,
+    Architect, 744 (_Imp._)
+
+Entrance Hall in House of Prof. C. E. Hart, New Brunswick, N.J. H. R.
+    Marshall, Architect, 736, (_Imp._)
+
+Episcopal Church, West Medford, Mass. H. H. Richardson, Archt., 737
+    (_Imp._)
+
+Grand Hotel, Vienna, Austria. Carl Tietz, Architect, 741
+
+House-gable on Taubenstrasse, Berlin, Germany. Herr Holst, Archt., 742
+
+HOUSE OF:--
+  J. Benic, Karlstadt, Austria. Hans Pruckner, Architect, 743
+  Mrs. Charles Blake, Boston, Mass. Sturgis & Cabot, Archts., 732
+      (_Imp._)
+  Charles F. Brush, Cleveland, O. George H. Smith, Archt., 742 (_Imp._)
+  Señor Cuda, Santiago, Chili, 740
+  Mrs. S. T. Everett, Cleveland, O. C. F. & J. A. Schweinfurth,
+      Architects, 735 (_Imp._)
+  Herr Hatner, Buda-Pesth, Austria. Alfred Wellisch, Architect, 744
+  Mrs. T. T. Haydock, Cincinnati, O. J. W. McLaughlin, Architect, 743
+      (_Imp._)
+  Mr. McKenna, Santiago, Chili, 740
+  G. M. Smith, Providence, R.I. Stone, Carpenter & Willson, Architects,
+      733 (_Imp._)
+
+House on the Rauchstrasse, Berlin, Germany. Kaiser & Grossheim,
+    Architects, 741
+
+House on the Yorkstrasse, Berlin, Germany. Herr Rintz, Archt., 744
+
+Interior in the Château de Josselin, Morbihan, France, 732, 733
+   "     of St. Paul Extra Muros, Rome, Italy, 734
+   "     "  the Cathedral, Albi, France, 734
+   "     "   "  Hofkirche with Tomb of Maximilian I, Innsbruck,
+                    Austria, 735
+   "     "   "  Recoletu Church, Santiago, Chili, 735
+
+Interiors in House at Malden, Mass. Chamberlin & Whidden, Architects,
+    738 (_Imp._)
+
+"Lloyds," Trieste, Austria. Baron Heinrich von Ferstel, Architect, 740
+
+Old Façade, Ecole de Medecine, Paris, France, 741
+
+Osborn Hall, New Haven, Conn. Bruce Price, Architect, 741 (_Imp._)
+
+Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne,
+    Paris, France, 743
+
+Palace of Count Pallavicini, Vienna, Austria. Herr Von Hohenberg,
+    Architect, 743
+
+Piers of the Cathedral Portico, Lucca, Italy, 739
+
+Porte Cochère, Paris, France, 744
+
+Portico, Ecole de Medecine, Paris, France, 741
+
+Residence of the Former Viceroy of the Province, Santiago, Chili, 738
+
+Savings Bank, Linz, Austria. Austrian Building Co., Architects, 742
+
+Street View in Santiago, Chili, 736
+
+Villa Blanca, near Innsbruck, Austria. J. W. Deininger, Architect, 740
+
+
+HOTELS.
+
+Clee Park Hotel, Grimsby, Eng. E. W. Farebrother, Architect, 738
+
+Grand Hotel, Vienna, Austria. Carl Tietz, Architect, 741 (_Gel._)
+
+Railway Tavern, Grimsby, Eng. E. W. Farebrother, Architect, 738
+
+
+INTERIORS.
+
+Auditorium of the Palace of the Trocadéro, Paris, France, 732 (_Gel._)
+
+Church of All Saints, Falmouth, Eng. J. D. Sedding, Archt., 737
+   "   "  St. Martin, Seamer, Eng. C. Hodgson Fowler, Architect, 742
+
+Corridor in House of Edwin Long, R.A., Hampstead, Eng. R. Norman Shaw,
+    Architect, 744
+
+Dining-room, Coombe Warren, Kingston, Eng. George Devey, Archt., 734
+
+Drawing-room, Holcombe, Chatham, Eng. John Belcher, Archt., 736
+
+Entrance Hall in House of Prof. C. E. Hart, New Brunswick, N.J. H. R.
+    Marshall, Architect, 736 (_Gel._)
+
+Hall, Castle Campbell, Clackmannan, Scotland. The, 739
+ "    Coombe House, near Shaftesbury, Eng. E. Towry White, Architect, 736
+ "    Holcombe, Chatham, Eng. John Belcher, Architect, 738
+
+Interior in the Château de Josselin, Morbihan, France, 732, 733
+             (_Gel._)
+    "    of All Saints' Church, Leek, Eng. R. Norman Shaw, Architect, 735
+    "    "  St. Paul Extra Muros, Rome, Italy, 734 (_Gel._)
+    "    "  the Cathedral, Albi, France, 734 (_Gel._)
+    "    "   "  Hofkirche with Tomb of Maximilian I, Innsbruck, Austria,
+                    735 (_Gel._)
+    "    "   "  Recoletu Church, Santiago, Chili, 735 (_Gel._)
+
+Interiors in House at Malden, Mass. Chamberlin & Whidden, Architects,
+    738 (_Gel._)
+
+Kitchen, Castello di Vincigliata, Italy. G. Fancelli, Architect, 735
+
+Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne,
+    Paris, France, 743 (_Gel._)
+
+Swimming-bath and Gymnasium, Grocers' Company's Schools, Hackney
+    Downs, Eng. Henry C. Boyes, Architect, 736
+
+
+MERCANTILE.
+
+Business Premises, London, England. Frederick Wallen, Architect, 738
+
+"Lloyds," Trieste, Austria. Baron Heinrich von Ferstel, Architect, 740
+    (_Gel._)
+
+New Premises, Chester, Eng. T. M. Lockwood, Architect, 737
+
+Savings Bank, Linz, Austria. Austrian Building Co., Archts., 742
+    (_Gel._)
+
+U.S. Trust Co.'s Building, New York, N.Y. R. W. Gibson, Architect, 734
+    (_Gel._)
+
+Warehouse, Stockholm, Sweden. A. Egendomen, Architect, 735
+
+
+MISCELLANEOUS.
+
+Historical Figures from the Lord Mayor's Procession, 732
+
+Italian Sketches, 734
+
+"Lion and Serpent." A. L. Barye, Sculptor, 732
+
+New Year's Day in the Olden Time, 735
+
+Norwich, from the Cromer Road, by John Sell Cotman, 742
+
+Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne,
+    Paris, France, 743 (_Gel._)
+
+Sketches in Normandy, by Herbert Railton, 739
+
+Street View in Dinan, France, 736
+  "      "  "  Santiago, Chili, 736 (_Gel._)
+
+Swimming-bath and Gymnasium, Grocers' Company's Schools, Hackney
+    Downs, Eng. Henry C. Boyes, Architect, 736
+
+Winter, from a Painting by Nicolas Lancret, 741
+
+
+MONUMENTAL.
+
+Interior of the Hofkirche with Tomb of Maximilian I, Innsbruck,
+    Austria, 735 (_Gel._)
+
+
+PUBLIC.
+
+Congress Hall and Chamber of Deputies, Santiago, Chili, 738 (_Gel._)
+
+Frome Union Offices, Frome, England. Drake & Bryan, Architects, 744
+
+New Bourse du Commerce, Paris, France. H. Blondel, Architect, 735
+
+Palace of the Liberal Arts, Paris, France. J. C. Formigé, Archt., 735
+
+
+STABLES.
+
+Stables, Holcombe, Chatham, England. John Belcher, Architect, 739
+
+
+TOWERS AND SPIRES.
+
+Torre del Vino, Alhambra, Granada, Spain, 732
+
+
+
+
+TEXT CUTS.
+
+[_These figures refer to the page of text, not to the plates._]
+
+
+Arch at Naples, 77
+
+Axe-head, 89
+
+Bracteates, 53, 54
+
+Capitals, 60, 91, 94, 156
+
+Cartoon for Sgraffito, 3
+
+Centennial Hall, Sydney, 184
+
+Chair from Khorsabad, 72
+
+CIVIL & DOMESTIC ARCHITECTURE:--
+  Basilica. A Roman, 51
+  Baths of Caracalla. Plan of, 36
+  Colonnade of the Louvre, Paris, 70
+  Foscari Palace, Venice, 68
+  Fountain, Place Stanislas, Nancy, 85
+  Garde-Meuble, Paris, 83
+  Gare d'Orléans, Paris, 88
+  Halle au Blé, Paris, 83, 84
+  Halles Centrales, Paris, 87, 88
+  Hôtel de Ville, Brussels, 67
+    "   "    "    Paris, 69
+    "   "    "    St. Antonin, France, 51
+    "   des Invalides, Paris, 70, 71
+  Library of St. Geneviève, Paris, 87
+  Mint, Paris. The, 83
+  Monument of Lysicrates, 35
+  Odéon, Paris. The, 84
+  Opéra-House, Paris, 86
+  Palazzo Vecchio, Florence, 67
+  Place Stanislas, Nancy, 85
+  Procurazie Nuove, Venice, 68
+  Strozzi Palace, Florence, 70
+  Theatre of Herculaneum, 51
+  Tower of the Winds, 36
+
+Copper-plates from Etowah Mound, 153
+
+"Dance," Paris Opéra-House. Carpeaux's, 101
+
+Doorway, Newport, R.I., 28
+
+Doorways. Carved Church, 38, 39
+
+Dormer, 58
+
+Entrance, Stokesay Castle, 155
+
+Equestrian Designs, 72, 170
+
+EQUESTRIAN MONUMENTS:--
+  Condé. The Great, 76
+  Louis XIV, 170, 171
+  Gustavus Adolphus, 73
+  Maximilian I, 74
+  Marcus Curtius, 170
+  Marshal Rantzau, 76
+  William of Orange, 72
+
+Fibula, 54
+
+FUNERARY ARCHITECTURE:--
+  Absalom's Tomb, 116
+  Campo Santo at Genoa, 167
+    "     "   "  Pisa, 164
+  Catacombs, 147
+  Celtic Tumuli, 99
+  Egyptian Tombs, 100
+  Etruscan Tombs, 131
+  Hypogea, 115
+  Mausoleum of Taghlak, 148
+  Mediæval Tombs, 163
+  Mougheir Tombs, 115
+  Phoenician Tombs, 116
+  Pyramids. The, 100
+  Roman Cippus, 134
+    "   Columbarium, 134
+    "   Funerary Urn, 134
+  Sepulchral Chapel at Paris, 167
+  Stelæ, 116
+  Tomb at Montmorency, 166
+  Tomb at Palmyra, 134
+  Tomb at Pompeii, 133
+  Tomb in S. Maria del Popolo, Rome, 165
+  Tomb of
+    Louis de Brézé, Rouen, 165
+    Cecilia Metella, Rome, 132
+    Hadrian, 132, 133
+    Louis XII, St. Denis, 164
+    Mazarin, Paris, 166
+    Nakschi Roustam, 117
+    Paul III, Rome, 166
+    St. Stephen, Obazine, 163
+    Marshal Saxe, Strasbourg, 167
+    Theodoric, Ravenna, 147
+  Tombs at Mycenæ, 131
+  Tombs at Telmissus and Theron, 131
+  Tombs in India, 148
+  Tombs in Judea and Asia Minor, 117
+  Tomb of the Caliphs at Cairo, 148
+  Urn Containing Heart of Francis I, 164
+
+George Inn, Norton, Eng., 44
+
+Hall in House of J. H. Howe, Rochester, N.Y. Nolan Bros.,
+    Architects, 78
+
+Hinge. Wrought-iron, 135
+
+HISTORY OF HABITATION:--
+  Aztec Dwelling. An, 169
+  Byzantine House, 151
+  Egyptian House, 150
+  Etruscan House, 168
+  Gallo-Roman House, 150
+  Hebrew House, 169
+  Inca Dwelling, 149
+  Pelasgian Hut, 149
+  Phoenician House, 168
+
+Horns. Golden, 55, 56
+
+House of A. A. Carey, Cambridge, Mass. Sturgis & Brigham,
+    Architects, 23
+
+Impost, 50
+
+Martyrs Column, Naples, Italy, 22
+
+MILITARY ARCHITECTURE:--
+  Arch of Austria. The Louvre, 195
+  Assyrian Fortress, 179
+  Bastioned City. A, 196
+  Enceinte of Constantinople, 180
+  Fortification. Section of a, 196
+  Fortresses. Egyptian, 179
+  Plan of Tiryns, 179
+  Towers of Messene, 180
+  Tyre, 180
+  Wall of Castellum of Jublaius, 180
+  Wall of Château Gaillard, 195
+  Walls of Pompeii, 180
+  Walls of Verona, 180
+
+"Modern Improvements." "All the," 109, 141, 156, 174
+
+Monument. Scandinavian, 55
+   "      to Egmont and Horn, Brussels, 9
+   "      "  Liszt, 5
+   "      "  Minine and Pojarsky, Russia, 27
+   "      "  the Heroes of the Franco-Prussian War, Berlin, 19
+
+Pulpit, 10
+
+Quintus Church, Mainz, 172
+
+Scabbard Ornament, 40
+
+Sculpture, Campanile of St. Mark's, 57, 93
+
+Sword Hilt, 37
+
+Tower, 24
+
+Turret, Rothenburg, Ger., 204
+
+Verplanck Homestead, Fishkill, N.Y., 26
+
+Waterspout, 90
+
+Window at Ulm, 201
+
+
+
+
+INDEX BY LOCATION.
+
+[_The figures refer to the number of the journal, and not to the
+page._]
+
+
+Aberdeen, Scotland. Cathedral of St. Machar, 733 (_Reg._)
+   "          "     Hall, Craigievar Castle, 743 (_Imp._)
+
+Albi, France. Interior of the Cathedral, 734 (_Int._)
+
+Angoulême, France. House of St. Simon, 735 (_Int._)
+
+Anniston, Ala. Anniston City Land Co. Building. Chisolm & Green,
+    Architects, 734 (_Reg._)
+
+Arbroath, Scotland. Aberbrothwick Abbey, 732 (_Reg._)
+
+Balveny Castle, Scotland, 735 (_Reg._)
+
+Berlin, Ger. House-gable on Taubenstrasse. Herr Holst, Architect, 742
+                 (_Int._)
+  "      "   House on the Rauchstrasse. Kaiser & Grossheim, Architects,
+                 741 (_Int._)
+  "      "   House on the Yorkstrasse. Herr Rintz, Architect, 744 (_Int._)
+
+Birmingham, Eng. House near, Essex & Nicol, Architects, 743 (_Int._)
+
+BOSTON, MASS.:--
+  Building for the Boston Real Estate Trust, 744 (_Reg._)
+  Design for an Office-building. C. H. Blackall, Architect, 734 (_Reg._)
+  House of Mrs. Charles Blake. Sturgis & Cabot, Architects, 732 (_Imp._)
+    "   "  W. A. Burnham. E. C. Curtis, Archt., 739 (_Imp._)
+  Sketch of Store. Wait & Cutter, Architects, 732 (_Reg._)
+
+Brockenhurst, Eng. Black Knoll. R. T. Blomfield, Architect, 742
+    (_Int._)
+
+Bromley, Eng. Board School. Vacher & Hellicar, Architects, 739
+    (_Int._)
+
+Brookline, Mass. House of Capt. Jesse H. Freeman. W. A. Rodman,
+    Architect, 738 (_Reg._)
+
+Brooklyn, N.Y. St. Augustine's Roman Catholic Church Buildings.
+                   Parfitt Bros., Architects, 733 (_Reg._)
+   "       "   Throop Avenue Presbyterian Church. Fowler & Hough,
+                   Architects, 742 (_Reg._)
+   "       "   Vault, Greenwood Cemetery. Renwick, Aspinwall & Russell,
+                   Archts., 744 (_Reg._)
+
+Buda-Pesth, Austria. House of Herr Hatner. Alfred Wellisch, Architect,
+    744 (_Int._)
+
+Cambridge, Mass. High School. Chamberlin & Austin, Architects, 743
+    (_Reg._)
+
+Castle of Vincigliata, Italy. Kitchen. G. Fancelli, Architect, 735
+    (_Int._)
+
+Charleton, Eng. Parish Room and School. F. J. Commin, Architect, 739
+    (_Int._)
+
+Chatham, Eng. Holcombe. John Belcher, Architect, 735, 736, 738, 739
+    (_Int._)
+
+Chelmsford, Eng. Wrought-iron Gates, 732 (_Int._)
+
+Chester, Eng. New Premises. T. M. Lockwood, Architect, 737 (_Int._)
+
+Chicago, Ill. House of Julius Howells. Wm. H. Pfau, Architect, 740
+                  (_Reg._)
+   "      "   Houses for Potter Palmer. C. M. Palmer, Architect, 735
+                  (_Reg._)
+
+Chislehurst, Eng. Butler's Wood. Ernest Newton, Architect, 733
+    (_Int._)
+
+Cincinnati, O. Capitals from Chamber of Commerce. H. H. Richardson and
+                   Shepley, Rutan & Coolidge, Successors, Architects,
+                   740 (_Imp._)
+     "      "  House for Mrs. T. T. Haydock. J. W. McLaughlin,
+                   Architect, 743 (_Imp._)
+
+Clackmannan, Scotland. Castle Campbell, 739 (_Int._)
+
+Cleveland, O. House of Chas. F. Brush, George H. Smith, Architect, 742
+                  (_Imp._)
+    "      "  House of Mrs. S. T. Everett. C. F. & J. A. Schweinfurth,
+                  Architects, 735 (_Imp._)
+
+Concord, N.H. Chapel, St. Paul's School. Henry Vaughan, Architect, 742
+    (_Reg._)
+
+Cranbrook, Eng. Mill Pond Farm. M. E. Macartney, Architect, 743
+    (_Int._)
+
+Detroit, Mich. Premises of G. G. Booth. Mason & Rice, Architects, 740
+    (_Reg._)
+
+Dinan, France. Street View, 736 (_Int._)
+
+East Providence, R.I. Town-hall. W. R. Walker & Son, Archts., 738
+    (_Reg._)
+
+Edgware, Eng. Chapel of St. Mary of Nazareth. James Brooks, Architect,
+    736 (_Int._)
+
+Elmira, N.Y. First Baptist Church. Pierce & Dockstader, Archts., 739
+    (_Reg._)
+
+Exeter, Eng. House at. James Crocker, Architect, 733 (_Int._)
+
+Falmouth, Eng. Church of All Saints. J. D. Sedding, Architect, 737
+    (_Int._)
+
+Felixstowe, Eng. The Gables. William A. Thorp, Architect, 740 (_Int._)
+
+Frome, Eng. Frome Union Offices. Drake & Bryan, Architects, 744
+    (_Int._)
+
+Gardiner, Me. Baptist Church. Stevens & Cobb, Architects, 737 (_Reg._)
+
+Goring-on-Thames, Eng. House. Geo. W. Webb, Architect, 740 (_Int._)
+
+Granada, Spain. Torre del Vino, Alhambra, 732 (_Int._)
+
+Greenville, N.Y. Cottage for Dr. T. H. Willard, Jr. Adolph Haak,
+    Architect, 737 (_Reg._)
+
+Grimsby, Eng. Clee Park Hotel. E. W. Farebrother, Architect, 738
+                  (_Int._)
+  "       "   Railway Tavern. E. W. Farebrother, Architect, 738 (_Int._)
+
+Hackney Downs, Eng. Swimming-bath and Gymnasium, Grocers' Company
+    Schools. H. C. Bowes, Archt., 736 (_Int._)
+
+Hampstead, Eng. House of Edwin Long, R.A. R. Norman Shaw, Architect,
+    734 (_Int._)
+
+Innsbruck, Austria. Interior of the Hofkirche, with Tomb of Maximilian I,
+                        735 (_Int._)
+  "           "     Villa Blanca, near. T. W. Deininger, Architect, 740
+                        (_Int._)
+
+Karlstadt, Austria. House of J. Benic. Hans Pruckner, Architect, 743
+    (_Int._)
+
+Kearney, Neb. Block of Houses for E. K. Greene. Frank, Bailey &
+                  Farmer, Architects, 741 (_Reg._)
+  "       "   House of C. H. Elmendorff. Frank, Bailey & Farmer,
+                  Architects, 737 (_Reg._)
+  "       "   House of Geo. W. Frank. Frank, Bailey & Farmer, Architects,
+                  743 (_Reg._)
+
+Kingston, Eng. Coombe Warren. George Devey, Archt., 732, 734 (_Int._)
+
+Leeds, Eng. Wesleyan Chapel. T. Butler Wilson, Architect, 734 (_Int._)
+  "     "   All Saints' Church. R. Norman Shaw, Architect, 735 (_Int._)
+
+Lewiston, Me. School-house. Geo. F. Coombs, Architect, 735 (_Reg._)
+
+Linlithgow, Scotland. Dalmeny Church, 742 (_Imp._)
+
+Linz, Austria. Savings Bank. Austrian Building Co., Architects, 742
+    (_Int._)
+
+LONDON, ENG.:--
+  All Saints' Church. Christopher & White, Architects, 743 (_Int._)
+  Business Premises.  Frederick Wallen, Architect, 738 (_Int._)
+  Design for Church of the Good Shepherd. T. Phillips Figgis, Architect,
+      733 (_Int._)
+  House, James Street, Buckingham Gate. R. T. Blomfield, Architect, 742
+      (_Int._)
+
+Los Angeles, Cal. Hall in House of W. R. Ray. W. Redmore Ray,
+    Architect, 740 (_Reg._)
+ "    "       "   High-School. J. N. Preston & Son, Archts., 738 (_Reg._)
+ "    "       "   Memorial "Church of the Angels." E. A. Coxhead, Archt.,
+                      733 (_Reg._)
+
+Lucca, Italy. Piers of the Cathedral Portico, 739 (_Int._)
+
+Malden, Mass. Competitive Design for the First Baptist Church. Lewis &
+                  Phipps, Architects, 740 (_Reg._)
+  "      "    House. Chamberlin & Whidden, Architects, 738 (_Reg._)
+  "      "    Interiors in House at. Chamberlin & Whidden, Architects,
+                  738 (_Imp._)
+
+Mansfield, O. St. Luke's Church. W. G. Preston, Architect, 744
+    (_Reg._)
+
+Memphis, Tenn. Design for Presbyterian Church. W. Albert Swasey,
+    Architect. 742 (_Reg._)
+
+Minneapolis, Minn. Netley Corners. J. C. Plant, Architect, 744
+    (_Reg._)
+
+Minnetonka Beach, Minn. House of A. H. Stem. A. H. Stem, Architect,
+    741 (_Reg._)
+
+Morbihan, France. Château de Josselin, 733 (_Int._)
+  "         "     Interior in the Château de Josselin, 732, 733 (_Int._)
+
+Nairn, Scotland. Cawdor Castle, 738 (_Int._)
+
+New Brunswick, N.J. Entrance-hall in House of Prof. C. E. Hart. H. R.
+                        Marshall, Architect, 736 (_Imp._)
+ "     "        "   House of Prof. C. E. Hart. H. R. Marshall, Architect,
+                        736 (_Reg._)
+
+New Haven, Conn. Osborn Hall. Bruce Price, Architect, 741, 744
+    (_Imp._)
+
+Newport, R.I. House of W. S. Wells. G. E. Harding & Co., Archts., 736
+    (_Reg._)
+
+NEW YORK, N.Y.:--
+  Competitive Design for the Cathedral of St. John the Divine.
+    Glenn Brown, Architect, 732 (_Reg._)
+    Edward C. Casey, Archt., 736 (_Int._)
+    Cram & Wentworth, Architects, 738 (_Imp._)
+    Stephen C. Earle, Archt., 736 (_Int._)
+    John L. Faxon, Architect, 736 (_Int._)
+    B. G. Goodhue, Archt., 738 (_Imp._)
+    J. R. Rhind, Architect, 743 (_Imp._)
+  U.S. Trust Co.'s Building. R. W. Gibson, Architect, 734 (_Imp._)
+
+Normandy. Sketches in. By Herbert Railton, 739 (_Int._)
+
+Norton, Va. Sketch for Hotel at. Geo. T. Pearson, Architect, 734
+    (_Reg._)
+
+Norwich, Eng. Font and Canopy, St. Peter, Mancroft. Frank T.
+    Baggallay, Architect, 735 (_Int._)
+
+Orange, N.J. House of J. R. Burnett. F. W. Beall, Architect, 743
+    (_Reg._)
+
+PARIS, FRANCE:--
+  Auditorium of the Palace of the Trocadéro, 732 (_Int._)
+  Central Dome of Exhibition Buildings,  740 (_Reg._)
+  Ecole de Medecine, 741 (_Int._)
+  New Bourse du Commerce. H. Blondel, Architect, 735 (_Int._)
+  Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne,
+      743 (_Int._)
+  Palace of the Liberal Arts. J. C. Formigé, Architect, 735 (_Int._)
+  Porte Cochère, 744 (_Int._)
+  Tower, St. Etienne du Mont, 737 (_Reg._)
+
+Paterson, N.J. Sketch of Stable. C. Edwards, Architect, 735 (_Reg._)
+
+Pennfield, Pa. Alicia Springs Hotel. E. Culver, Architect, 738
+    (_Reg._)
+
+Poblet, Spain. Cloister, 737 (_Int._)
+
+PROVIDENCE, R.I.:--
+  Competitive Design for Gymnasium for Brown University. Gould & Angell,
+      Architects, 741 (_Int._)
+  Competitive Design for Gymnasium for Brown University. Stone, Carpenter
+      & Willson, Archts., 741 (_Int._)
+  House of E. D. Pearce. Rotch & Tilden, Archts., 740 (_Int._)
+   "    "  G. M. Smith. Stone, Carpenter & Willson, Architects, 733
+      (_Imp._)
+  Old Iron and Brass Work, 737 (_Reg._)
+
+Quimper, France, Cathedral, 742 (_Int._)
+
+Reading, Eng. Church of St. John the Baptist. E. Prioleau Warren,
+    Architect, 737 (_Int._)
+
+Ripon, Eng. Semi-detached Houses. T. Butler Wilson, Architect, 740
+    (_Int._)
+
+Rochester, N.Y. House of J. H. Howe. Nolan Bros., Architects, 736
+                    (_Reg._)
+  "         "   House of Albert Will. Otto Block, Architect, 735 (_Reg._)
+  "         "   House on Portsmouth Terrace. W. C. Walker, Architect, 736
+                    (_Reg._)
+
+Rome, Italy. Interior of St. Paul Extra Muros, 734 (_Int._)
+
+Ruxton, Md. House of C. De Lacey Evan. E. G. W. Dietrich, Architect,
+    734 (_Reg._)
+
+St. Andrews, Scotland. Churches of St. Regulus and St. Salvator, 734
+    (_Imp._)
+
+St. Paul, Minn. Houses for Dr. A. Wharton. A. H. Stem, Archt., 739
+    (_Reg._)
+
+SANTIAGO, CHILI:--
+  Congress Hall and Chamber of Deputies, 738 (_Int._)
+  House of Mrs. Consino, 733, 734 (_Int._)
+   "    "  Señor Cuda, 740 (_Int._)
+   "    "  Mr. McKenna, 740 (_Int._)
+  Interior of the Recoletu Church, 735 (_Int._)
+  Official Residence of the Intendente, 734 (_Int._)
+  Residence of the former Viceroy of the Province, 738 (_Int._)
+  Street View, 736 (_Int._)
+
+Savannah, Ga. Hotel de Soto. W. G. Preston, Architect, 733 (_Reg._)
+
+Seamer, Eng. Church of St. Martin. C. Hodgson Fowler, Archt., 742
+    (_Int._)
+
+Shaftesbury, Eng. Hall, Coombe House, near. E. T. White, Archt., 736
+    (_Int._)
+
+Stockholm, Sweden. Warehouse. A. Egendomen, Architect, 735 (_Int._)
+
+Strasbourg, Germany. University. Prof. Worth, Architect, 741 (_Reg._)
+
+Sydney, N.S.W. Town-hall, 743 (_Reg._)
+
+Tonbridge, Eng. Hall Place. George Devey, Architect, 741 (_Int._)
+
+Toulouse, France. Renaissance Doorways, 737 (_Reg._)
+
+Trieste, Austria. Lloyds. Baron Heinrich von Ferstel, Architect, 740
+    (_Int._)
+
+Tunbridge Wells, Eng. House. George Devey, Architect, 741 (_Int._)
+
+Tuxedo, N.Y. Cottage at. Renwick, Aspinwall & Russell, Architects, 744
+    (_Reg._)
+
+Tweedmouth, Eng. Vicarage. F. R. Wilson, Architect, 744 (_Int._)
+
+Vienna, Austria. Grand Hotel. Carl Tietz, Architect, 741 (_Int._)
+  "      "       Palace of Count Pallavicini. Herr Von Hohenberg,
+                     Archt., 743 (_Int._)
+
+Wakefield, Mass. Congregational Church. Hartwell & Richardson
+    Architects, 744 (_Reg._)
+
+West Medford, Mass. Episcopal Church. H. H. Richardson, Architect, 737
+    (_Imp._)
+
+Yuste, Spain. Ruined Chapel of Charles V, 732 (_Int._)
+
+
+
+
+THE AMERICAN ARCHITECT AND BUILDING NEWS.
+
+VOL. XXVII. Copyright, 1890, by TICKNOR & COMPANY, Boston, Mass. No.
+732.
+
+
+Entered at the Post-office at Boston as second-class matter.
+
+JANUARY 4, 1890.
+
+
+
+
+[Illustration: CONTENTS]
+
+
+SUMMARY:--
+
+The Incomes of Architects.--Death of Mr. George F.
+Durand, Architect.--Concrete Arches.--An Architect's
+Responsibility for Exceeding the Stipulated Cost of a
+Building.--A French Case in Point.--A Contractor
+Engages in Profit-Sharing with his Workmen.                          1
+
+THE APARTMENT-HOUSE.                                                 3
+
+ARCHITECTURE IN BROOKLYN.                                            5
+
+THE STRUCTURE OF SANDSTONE.                                          9
+
+THE BARYE EXHIBITION.                                               10
+
+ILLUSTRATIONS:--
+
+"The Lion and the Serpent."--Auditorium of the Palace
+of the Trocadéro, Paris, France.--An Interior in the
+Château de Josselin, Morbihan, France.--Torre del Vino,
+Alhambra, Granada, Spain.--Ruins of the Chapel of
+Charles V, Yuste, Spain.--Coombe Warren, Kingston,
+England: Garden Front.--Coombe Warren, Kingston,
+England: Entrance Front.--A Gentleman's Country
+House.--Wrought-Iron Gates, Duke Street,
+England.--Historical Figures from Lord Mayor's
+Procession, 1889.--House of Mrs. Charles Blake, Beacon
+Street, Boston, Mass.--Competitive Designs for the
+Cathedral of St. John the Divine, New York, N.Y.--Abbey
+of Aberbrothwick: Gallery over Entrance.--Abbey of
+Aberbrothwick: The Western Doorway.--Design for a
+Store.                                                              12
+
+SOCIETIES.                                                          14
+
+COMMUNICATIONS.--
+
+Barye's Admirer.--Evaporation of Water in Traps.                    15
+
+NOTES AND CLIPPINGS.                                                15
+
+TRADE SURVEYS.                                                      16
+
+       *       *       *       *       *
+
+That extraordinary phenomenon, which those who read many newspapers
+sometimes encounter, of the inspiration of two writers following
+tracks so closely parallel that their effusions are word for word the
+same from beginning to end, was recently to be observed in the case of
+the New York _Herald_ and the Pittsburgh _Leader_, which published on
+the same day an article devoted to architects or, rather, to their
+incomes, which held up these fortunate professional men as objects to
+be envied, if not by all the world, at least by journalists, many of
+whom have just now a way of writing about rich men or women which
+suggests the idea that the journalist himself was brought up in a
+jail, and sees nothing but the pockets of those whom he favors with
+his attention. The present writers, after half a column or so of
+rubbish about the grandeur of American buildings, furnish the New York
+and Pittsburgh public with the information that "there are in the city
+of New York at least ten architects whose annual net income is in
+excess of a hundred thousand dollars, while in Philadelphia, Chicago,
+Boston and St. Louis there are quite as many who can spend a like
+amount of money every year without overdrawing their bank accounts."
+This is certainly very liberal to the architects, but what follows is
+even more so. "There are," we are told, in addition to the magnates
+just mentioned, "hosts of comparatively small fry whose annual profits
+will pass the fifty-thousand-dollar mark." If an architect whose net
+income is only a thousand dollars a week belongs to the "small fry,"
+what name would these journalists have for the remaining insignificant
+beings who practise architecture faithfully and skilfully, and thank
+Providence sincerely if their year's work shows a profit of three
+thousand dollars? Yet, with a tolerably extended acquaintance in the
+profession, we are inclined to think that this list includes the
+greater part of the architects in this country. As to the architects
+whose usual income from their business is a hundred thousand dollars,
+they are pure myths. The New York-Pittsburgh authority mentions by
+name Mr. R. M. Hunt as one of them. As a counterpoise to this piece of
+information, we will mention what a worthy contractor once said to us
+about Mr. Hunt. The builders were not, in those days, very fond of our
+venerated President. He had altogether too many new ideas to suit
+their conservatism, which looked with horror on anything out of the
+common way. "The fact is," said the contractor, in a burst of
+confidence, "Mr. Hunt never could get a living at all if he hadn't a
+rich wife." By averaging these two pieces of misinformation, after
+the manner of the commissioners of statistics, one may, perhaps, get
+some sort of notion of what a very able and distinguished architect in
+New York, seconded by skilful and devoted assistants, can make out of
+his business; but men so successful are extremely rare exceptions in
+the profession, and the "hosts" of "small fry" whose annual profits
+amount to fifty thousand dollars, of course, do not exist. It would be
+a waste of time to notice such ridiculous assertions, were it not that
+they do a great deal of harm to the profession and the public: to the
+profession by making people believe that architects are combined to
+extort an unreasonable compensation for their work; and to the public
+by spreading the idea that the profession of architecture is just the
+one in which their sons can become rapidly rich without much trouble.
+It would be a useful thing to publish here, as is done in England, the
+value of the estate left at their death by architects of distinction,
+although in many cases this is greatly increased by inheritance, by
+marriage, by fortunate investments or by outside employment; but, if
+this should be done, it would be not less useful to publish also a few
+true accounts of the early trials and struggles of architects. How
+many of them have we known who have given drawing-lessons, illustrated
+books, designed wall-papers, supervised laborers, delivered
+lyceum-lectures or written for newspapers, happy if they could earn
+two dollars a day while waiting for a vacancy in the "hosts" of
+architects with a thousand dollars a week income. How many more, who
+were glad of the help of their faithful young wives in eking out the
+living which had love for its principal ingredient. And of those who
+have persisted until time and opportunity have brought them a
+comparatively assured, though modest position, how many have found
+their way to it through architecture? If we are not mistaken, less
+than half of the trained students in architecture turned out by our
+technical schools are to be found in the profession six years later.
+The others, ascertaining, on a closer view, that their expected income
+of fifty thousand dollars a year is farther off than they anticipated,
+and that fifty thousand cents is about as much as they can expect for
+a good many years to come, drift away into other employments, and some
+of them, no doubt, will be much astonished to learn from the newspaper
+reporters what they have missed.
+
+       *       *       *       *       *
+
+We regret very much to hear of the death of Mr. George F. Durand,
+Vice-President of the Canadian Society of Architects; which occurred
+at London, Ontario, last week. Mr. Durand was young in the profession,
+being only thirty-nine years old, but was very widely and favorably
+known among architects and the public, both in Canada and elsewhere.
+He was a native of London, but after spending a short time in the
+office of the city engineer there, he went to Albany, N.Y., where he
+was employed by Mr. Thomas Fuller as his chief assistant in the work
+on the new capitol, which was then in Mr. Fuller's hands. When Mr.
+Fuller was superseded, Mr. Durand left Albany with him, and, after a
+year spent in Maine, with a granite company, he returned to his native
+city, where he soon found constant and profitable employment, having
+for several years built a large part of the most important structures
+in Western Ontario. The London _Advertiser_, to which we owe most of
+our information as to his works, offers to his relatives and friends
+the sincere sympathy of the public which it represents, and we are
+sure that the architects of the United States will join with their
+brethren in Canada in mourning the loss of one who, at so early an
+age, had conquered for himself so conspicuous a place in his laborious
+profession.
+
+       *       *       *       *       *
+
+Some interesting experiments on concrete arches were made recently,
+during the construction of the new railway station at Erfurt. Some of
+the rooms were to be covered with concrete floors, carried on iron
+beams, while others, of smaller size, were intended to be spanned by
+arches extending from wall to wall. One of the latter, something over
+seven feet in width, was covered with concrete, flat on top, and
+forming on the underside a segmental arch, the thickness of the
+material at the crown of the arch being four inches, and about eleven
+inches at the springing. The concrete was made of "Germania" Portland
+cement, mixed dry with gravel, moistened as required, and well rammed
+on the centring; and skew-backs were cut in the brick walls at the
+springing line, extending two courses higher, so as to give room for
+the concrete to take a firm hold on the walls. Fourteen days after
+completion, this floor was loaded with bricks and sacks of cement to
+the amount of more than six hundred pounds per square foot, without
+suffering any injury, although, after the load was on, a workman
+hammered with a pick on the concrete, close to the loaded portion, so
+as to provoke the cracking of the arch if there had been any tendency
+to rupture. In the other cases, the concrete arches being turned
+between iron beams, the strength of the floor was limited by that of
+the beams, so the extreme load could not be put on; but the curious
+fact was established that a section of concrete flat on top, and
+forming a regular segmental arc beneath, was far stronger than one in
+which a portion of the under surface was parallel to the upper;
+showing, apparently, that the arched form, even with homogeneous
+concrete, causes the conversion of a large part of a vertical pressure
+into lateral thrust, reducing by so much the tendency of the load to
+break the concrete transversely. This observation is important
+theoretically as well as practically. It has been of late generally
+maintained that a concrete arch is not an arch at all, but a lintel,
+without thrust, and that the common form, flat above and arched
+beneath, is objectionable, as it gives least material at the centre,
+where a lintel is most strained. The Erfurt experiments directly
+contradict this view, and it remains for some students of architecture
+to render the profession a service by repeating them, and, at the same
+time, actually determining the thrust, for a given load, of arches of
+particular forms. Until this is done, the concrete construction, which
+is likely, we may hope, to become before many years the prevailing one
+in our cities, will be practised with difficulty and uncertainty, if
+not with danger. Incidentally, a trial was made of the effect of
+freezing on the concrete. The floor of a room arched in four bays,
+between iron beams, had just been finished when the weather became
+cold, and on the morning after its completion the thermometer stood at
+twenty above zero. The concrete had not been protected in any way, and
+the contractor was notified that it had been frozen, and must be
+removed. This was early in December, and it was about the first of
+April before the work of removal, preliminary to replacing the
+concrete with new material, was begun. Three bays had been wholly or
+partly removed when the hardness of the concrete under the workmen's
+tools attracted attention, and the arch remaining intact was tested
+with a load of three hundred pounds per square foot, which it bore
+perfectly.
+
+       *       *       *       *       *
+
+The question how far an architect can be held responsible in damages,
+in cases where the cost of work exceeds the estimates, is examined in
+a recent number of _La Semaine des Constructeurs_, and some
+considerations are mentioned which are new to us. According to
+Frémy-Ligneville, the most familiar authority on the subject, the
+architect incurs no responsibility whatever, either for his own
+estimates or those of other people, unless he intentionally and
+fraudulently misleads his client by a pretended estimate. In this
+case, as in that of any other fraud, he is liable for the results of
+his crime. Except under such circumstances, however, the architect's
+estimate of cost is simply an expression of opinion, the correctness
+of which he does not guarantee, any more than a lawyer guarantees the
+correctness of an opinion, although important interests may depend
+upon it. The owner can estimate the value of the architect's opinion,
+as of the lawyer's, by the professional reputation of the man who
+gives it, and, if he wishes to be more secure, he can go to another
+architect, as he would to another lawyer, for an independent estimate.
+Moreover, if the owner of the projected building is still anxious that
+the cost should be strictly limited to the sum estimated by the
+architects, he can have a contract drawn by which the builder shall be
+obliged to complete it for that sum, and can have his plans and
+specifications examined by competent authority, to see if they include
+everything necessary. This ought to make him reasonably sure what his
+house will cost him, provided he does not himself make changes in the
+plans or specifications. If he has omitted to take this precaution,
+and, as his building goes on, he finds that it is likely to exceed the
+estimate, he has another excellent opportunity to protect himself, by
+ordering immediately such changes in the plans and specifications for
+the work yet remaining to be done as may reduce the expense to the
+desired amount, and by doing so he generally suffers no damage, as, if
+he does not get all he expected to for his money, he gets all his
+money will pay for.
+
+       *       *       *       *       *
+
+With all these opportunities for revising and testing the correctness
+of an architect's estimate, the man who neglects to avail himself of
+any of them, and who allows the work on his house to go on, after it
+has become evident that it will cost more than the estimate, has,
+according to M. Frémy-Ligneville, no claim against any one on account
+of his disappointment. Of course, the architect should be as careful
+in his estimates as his experience allows him to be, and any
+conscientious man would try not to mislead a client, but both he and
+his client must remember that when the tenders of the builders
+themselves usually vary from fifty to a hundred per cent for the same
+piece of work, an architect's estimate cannot be anything more than an
+opinion. Moreover, the architect should not forget that, being an
+opinion, and not a guaranty, he is not only at liberty to modify it as
+much and as often as he sees fit, but is bound to do so, and to inform
+his client at once of the change, when fuller information, or
+alteration in the circumstances, shall show him that the original
+estimate is likely to be exceeded. If he does this frankly, although
+his client may be disappointed, he cannot reproach the architect with
+trying to deceive him, and there will probably still be time to make
+the changes necessary for reducing the expense to the desired point.
+In a case decided in Paris in July, 1855, a man was condemned to pay
+fifty-four thousand francs for repairs done on a house. He proved that
+his architect had estimated the expense at seven or eight thousand,
+but it was shown that the architect had subsequently informed him that
+it would be necessary to do more work than was at first contemplated,
+and that he had made inquiries about the matter, and had turned out
+his tenants so that the work might be done, and had paid the
+contractors more than the sum originally estimated; and the court
+thought he had no case at all against the architect.
+
+       *       *       *       *       *
+
+The great building firm of Peto Brothers, in England, having been
+awarded a contract for a large public building, have taken advantage
+of what, as they say, they consider a favorable opportunity to
+initiate a system of profit-sharing with their men, in accordance with
+a circular which is printed in the _Builder_. The system described by
+the circular is very simple. It is to apply for the present, only to
+the contract mentioned, but, if it works well, will be extended to
+future cases. Under the arrangement proposed one-quarter of the net
+profits of the contract are, when the building is done and the
+accounts settled, to be divided, as a bonus above their wages, among
+the men who have worked on it, in proportion to the wages they have
+earned. The conditions under which each man is entitled to his share
+are that he shall have worked long enough on the contract to have
+earned five pounds, at the regular rate of wages; that he shall not
+have neglected his duty, or misconducted himself, or wasted his time,
+or in other ways have acted so as to diminish the profits of the
+contract, or injure the reputation of the firm for good and honest
+work; and, that he shall not have engaged in any strike for shorter
+hours, or for wages above the schedule of wages which prevailed at the
+time the contract was made, and upon which the contract price was
+based. That the workmen may assure themselves of the fairness with
+which the division is carried out they are invited by the circular to
+send a representative to watch the making-up of the accounts by the
+auditor of the firm, and to sign the balance-sheet. In order to
+identify the claimants, every man must obtain a printed ticket from
+the time-keeper, on beginning his work, countersigned by the foreman,
+and noting the day and hour when his employment commenced, with his
+name, number and wages. This is to be again signed and countersigned
+when he leaves, and must be produced to secure a share in the
+dividend. Unpretending as it is, this bids fair to be one of the most
+interesting experiments in social science yet tried, and unless the
+trades-unions in England have forgotten their prowess, it will not be
+carried out without a struggle. Our readers will remember Mr. Lewis H.
+Williams's experiences in trying a similar plan with his carpenters in
+New York, and his final victory, but he had only one union to contend
+with, and that not a very compact one, while Messrs. Peto Brothers
+will have all the building trades about their ears at once, and the
+great question whether men shall be allowed to do only a fixed amount
+of work in a day, and that amount as small as possible, or whether
+they shall be allowed to work as they please, will be fairly brought
+before the parties for decision.
+
+
+
+
+THE APARTMENT-HOUSE.
+
+
+[Illustration: "THE SURE REVOLVING TEST OF TIME--PAST AND PRESENT"
+CARTOON FOR SGRAFFITO by HEYWOOD SUMNER.]
+
+From _Building News_.
+
+Most people are willing to admit that they cannot afford to pay over
+twice as much for a thing as it is worth; but few in this country are
+aware that they do this very thing when they build for themselves an
+independent city dwelling-house or pay a rent equivalent to or greater
+than the interest on this outlay.
+
+In the old country the secret of obtaining luxury and economy combined
+in building has been learned, and rich and poor, fashionable and
+unfashionable alike live in "flats." In America, people have not yet
+learned this lesson, but cling to the old and barbarous custom of
+living _perpendicularly_ in isolated towers, with all the cares and
+worries that go with isolated management.
+
+[Illustration: Figure 1.]
+
+Nothing shows more clearly than this, how much man is a creature of
+habit. In his savage state, the nature of his existence necessitated
+the isolated hut. As civilization advanced, however, the necessity
+for, and enormous advantages of coöperation became evident, but habit
+perpetuated the isolated dwelling long after the reasons for its
+existence had disappeared, and it required centuries for civilized men
+to learn that coöperation is an element as essential to perfection in
+the arrangement of their habitations as it is in other things.
+
+_A given accommodation may be obtained in the form of a "flat" for
+less than one-half the outlay required to obtain it in the form of an
+independent dwelling built on the same land._
+
+The form of comparison herein presented has never, to my knowledge,
+been heretofore made, and the results are as surprising as they are
+important and interesting.
+
+The estimates of cost have been made by several competent contractors
+on scale drawings and accurate specifications, are easily verified and
+hence may be accepted as reliable.
+
+Figure 1 is one of the plans of our apartment-house which is to be
+built on the Back Bay, Boston.
+
+Figure 2 shows the floor-plans of an independent house which might be
+built on the same land. Both figures are drawn to the same scale for
+convenience in comparing the dimensions. The independent-house (which
+I shall, in contradistinction to the "flat," designate as the "tower"
+to mark its prominent point of difference from the "flat" in form)
+contains a kitchen, pantry, furnace-room, fuel-cellar, laundry,
+dining-room, china-closet, parlor, eight bed-chambers provided with
+suitable closets, two bath-rooms, a trunk-room, a front staircase
+extending from the first floor to the attic, and a back staircase
+extending from the basement to the third floor. What will these
+accommodations cost in this form and what in the form of a "flat" in
+an apartment-house?
+
+The apartment-house contains a public kitchen, steam-heating,
+ventilating and electric-lighting isolated plants, fuel-cellar,
+laundry, café, billiard-room, gentlemen's smoking-room, ladies'
+parlor, small public dining-rooms, and eighty suites, _averaging_ five
+rooms, a bath-room and closets in each, and with a trunk or
+storage-room in the basement for each suite; four elevators and four
+fireproof staircases of iron and marble enclosed in brick walls from
+basement to roof.
+
+The suites are of different sizes to suit the proposed occupants, and
+will have from two to twelve or more rooms of varying dimensions as
+desired. They are partly "housekeeping" suites, _i. e._, having
+kitchens and dining-rooms; partly "hotel" suites, _i. e._, having
+neither kitchens nor dining-rooms, the occupants preferring to use the
+public café and dining-rooms; and partly "semi-housekeeping" suites,
+_i. e._, having dining-rooms and china-closets with dumb-waiters
+connecting them with the public-kitchen, but no independent kitchen.
+The "housekeeping" suites require one more bed-room than the others,
+to accommodate a private cook.
+
+Assuming now at first in our comparison those conditions which are
+least favorable to the apartment-house, we will take one of the
+"housekeeping" suites, having precisely the same number and size of
+rooms as we find in our independent house or "tower" and compare
+costs.
+
+The only difference in the accommodation in each case is that, in the
+"flat," the rooms are accessible to one another without the use of
+stairs, while in the "tower" six flights of stairs in all are used,
+constituting in the aggregate a ladder, as it were, of about a hundred
+steps; also in the fact that in the "tower" the owner has to manage
+his own heating, ventilating and hot-water supply apparatus, while in
+the "flat" this work is done for him; that in the "tower" wooden
+staircases and no elevators are used, while in the "flat" fireproof
+staircases enclosing elevators are provided; that in the "tower" the
+main partitions are often of wood while in the flat they are of brick
+a foot thick and each "flat" is separated from its neighbor by a brick
+wall a foot thick and all the floors are completely deadened against
+the transmission of sound; and finally that in the "tower" no external
+fire-escape is provided, while the "flat" has convenient external
+fire-escapes of iron. Otherwise the accommodations are in both cases
+precisely the same.
+
+The total cost of this apartment-house, including the building-lot
+valued at, say, $5 a square foot, has been carefully estimated at
+$617,771.
+
+This is the highest of two competitive estimates given by two
+responsible builders, and comprises general cooking-plant,
+electric-lighting, steam-heating and ventilating apparatus, iron
+staircases and fire-escapes, elevators, copper roofing, architect's
+commission, and, in short, everything required for occupancy and use
+except wall-paper.
+
+The first floor contains 16,688 square feet of available room. (By
+"available" I mean room which is directly occupied by, and which must
+be separately provided for each owner. That is, it excludes
+staircases, furnace, laundry, etc., which might be used in common by
+many owners and therefore need not be duplicated for each, and which
+are only indirectly serviceable to each owner in contributing to the
+usefulness of those which are directly enjoyed.) The six floors above
+contain 23,288 square feet of available room each, making a total of
+156,416 square feet. Adding 10,880 square feet for basement storage
+and trunk-room for the suites, and 2,000 square feet in the basement
+for barber's shop, apothecary, carriage and other offices along the
+street fronts, we have a total of 169,296 square feet of available
+room in the entire apartment-house. Dividing the total cost $617,771
+by this figure we have $3.65 for the cost of each square foot of
+available room in the building.
+
+Our "tower" measures twenty-five feet front on party lines, by seventy
+feet deep. Its available rooms comprise parlor, library, music-room,
+eight closeted-chambers, two bath-rooms, a trunk-room, a dining-room,
+and we may add a kitchen for those who still believe in having an
+independent cook.
+
+The area of these rooms is as follows:
+
+    Parlor            374 sq. ft.
+    Library           374    "
+    Music-room        154    "
+    Chamber No. 1     384    "
+    Chamber No. 2     528    "
+    Chamber No. 3     170    "
+    Chamber No. 4     252    "
+    Chamber No. 5     162    "
+    Chamber No. 6     286    "
+    Chamber No. 7     242    "
+    Chamber No. 8     315    "
+    2 Bath-rooms      144    "
+    Trunk-room        136    "
+    Dining-room       408    "
+    Kitchen           384    "
+    China-closet      136    "
+    Other closets     410    "
+
+Making a total of 4,859 square feet of available room in the "tower."
+Its total cost on a twenty-five foot lot of the average depth on the
+Back Bay, _i. e._, 112 feet, the land being valued as before at $5 per
+square foot, would be at the lowest estimate $32,000 at the present
+prices, the wood finish being equally good with that in the "flat." If
+we figure, however, for the same style of lighting, heating,
+ventilating and fireproofing, and provide an elevator and outside
+fire-escape, the cost could not be put below $40,000.
+
+The same amount of available space, _i. e._, 4,859 square feet in our
+"flat" would cost at $3.65 per square foot as above estimated,
+$17,735.
+
+If now we consider that the management of a private kitchen and an
+Irish cook does not actually constitute the essence of a home in its
+broadest sense, but, that on the contrary, it really deprives a home
+of its greatest charm, namely, peace of mind and rest of body, the
+kitchen and the cook's bed-chamber may be omitted from our "flat" in
+view of the public kitchen. The area of our "flat" then becomes 4,475
+square feet, which, at $3.65 per foot, brings the cost down to a
+little over $16,000.
+
+Finally, if we omit the dining-room also, with its china-closet, our
+area becomes 3,931 square feet, and the cost only $14,350 for the
+"flat," against $40,000 for the "tower," the former being but little
+over a third of the latter.
+
+So much for the saving in the case of a large family and large suite.
+For a small suite, such as would be required for a single person, or a
+small family of two or three persons, the saving at once mounts to a
+very much larger figure; so much so, indeed, as to render the use of
+the isolated house in such cases a most inordinate extravagance,
+except for the very rich. Thus a single person, or a family of two or
+three, could be very comfortably provided for with three or four
+rooms, and a bath-room in an apartment-house having a good café.
+Estimating the rooms to measure 18 x 22 feet, their area would be a
+little over 400 feet each, including closets, and their cost $1,460
+apiece; or for smaller rooms of, say, 14 x 15 feet, or 224 square-feet
+surface, the cost would be but $818 apiece. An isolated dwelling, on
+the same land, of only eighteen feet frontage and fifty feet deep,
+would cost, including the lot at $5 a foot, not less than $18,000 or
+$8,000, without the land. Of course, in such an isolated dwelling,
+electric-lighting, steam-heating, fireproof stairs, and other luxuries
+of the "flat," would hardly be expected.
+
+By the arrangement of our apartment-house, there are twenty-four
+corner-suites out of the eighty. These have direct sunlight on either
+one or both of their exposed fronts, and may be estimated as worth
+fifty per cent more than the rest. In other words, 3/10 of the whole
+available room space is worth fifty per cent more, and 7/10
+correspondingly less than the average price of $3.65 per foot.
+Therefore, $3.65 x 1-1/2 = $5.47 = price of corner-suites per foot,
+3/10 x the total area 169,296 square feet = 50,788 square feet x $5.47
+= $277,810, which, deducted from $617,771, leaves $339,961 to
+represent the total cost of the remaining 7/10. The total area 169,296
+x 7/10 = 118,507 square feet of available space in the inner-suites.
+Hence $339,961/118,507 = $2.86 as the price per square foot of the
+inner-suites, or all suites which are not corner-suites.
+
+Now, as our estimates on the "tower" were made on the basis of its
+being an inner building in a block and not a corner-house, our
+estimates for the "flat" should be on a basis of $2.86, instead of
+$3.65, as taken. Therefore, our suite of 4,859 square feet would be
+but $13,896 if the "flat" were any other than a corner one, and if the
+public kitchen and café were used, it would be $11,242, or _but a
+little more than a quarter of that of the "tower!"_
+
+The foregoing figures are easily explained, and their correctness
+verified by the following simple diagrams and considerations:
+
+[Illustration: Figure 2.]
+
+In Figure 2 the shaded parts of the plans represent the unavailable
+room which, under the apartment-house system, are rendered
+unnecessary, and they are practically wasted. Thus the eighty
+families, by uniting their eighty homes in one coöperative apartment,
+save 156 staircases consisting of seventy-six front and eighty back
+staircases, seventy-eight furnaces, seventy-nine laundries, etc., and
+nearly all the space they occupy, and the land, foundation and roof
+they represent.
+
+[Illustration: Figure 3.]
+
+This waste space may be graphically shown by the diagrams in Figure 3.
+The large black-and-white line represents the "tower," and the shorter
+the "flat." The black part of each line denotes unavailable, and the
+white part available room, the sum of the two denoting the total
+cubical contents of each dwelling. The white parts of the lines
+measure the same length in each case, because the amount of available
+room in "tower" and "flat" is assumed at the outset to be the same.
+Thus in the "tower," the front and back staircases and halls take up
+22,000 cubic feet out of the total 106,000 cubic feet covered by the
+entire building. In the "flat" the proportional part of the halls and
+staircases for each suite is represented by a comparatively
+insignificant quantity as shown.
+
+Again, an enormous waste is shown in the flooring, roof and air-spaces
+of the "tower," while this item is but a trifle in the "flat." The six
+floors, each 16 inches thick, and the roofing make up together in the
+"tower" 12,000 cubic feet, or nearly the equivalent of an entire
+story. Add to this 12,000 cubic feet of air-space under the roof and
+over the concrete, and we have in these items a waste of 24,000 cubic
+feet, against only 4,000 in the "flat."
+
+Thus we see that the waste space in the "tower" actually exceeds the
+available. Yet it must be paid for at the same rate with the latter.
+Deducting the waste in the "flat" from that in the "tower," we find
+the balance of waste space in the "tower" to be equal to the
+available, showing graphically that the "tower" must cost, in these
+items alone, just twice as much as the "flat."
+
+[Illustration: Figure 4.]
+
+Figure 4 shows a block-plan on a very small scale of the
+apartment-house, and a block-plan on the same scale of 40 "towers"
+adjoining each other, and having the same available space as the
+apartment-house. These plans show how much more land is required to
+give the same accommodations (minus the conveniences and luxuries of
+an apartment-house) in the "tower" system than in the "flat."
+
+The shaded portions in each block-plan represent the aggregate of
+available room in each case. This shows very strikingly what an
+enormous proportion of land and material is wasted in the "tower"
+system.
+
+In short, the possible saving in first cost for each family adopting
+the "flat" system of building lies between $14,265 and $28,758, making
+an aggregate saving for the 80 families occupying the apartment of
+between one and two millions of dollars.
+
+The annual running expenses are also greatly in favor of the "flat"
+system when the advantages of coöperation are used to its greatest
+extent.
+
+Eighty independent Irish cooks give way to a professional _chef_ and
+half-a-dozen _attachés_. The wages and maintenance of the 80 cooks
+would amount to an annual sum of not less than $40,000; those of the
+_chef_ and his assistants to hardly $10,000, making in this one item a
+possible annual saving of $30,000.
+
+The management of the 80 independent Irish cooks, if possible at all,
+could only be accomplished by the constant struggle of 80 worried and
+largely inexperienced owners or their wives. The management of the
+_chef_ and his _attachés_ could more easily be managed by a single
+person, either selected from among the 80 families and suitably
+recompensed, or employed as a professional manager at a regular
+salary. Or the entire control of the _café_, and kitchen could be let
+out by contract to some suitable caterer, if preferred.
+
+Corresponding savings are evidently possible in every other department
+of housekeeping, including steam-heating, ventilating, laundry-work,
+lighting and elevator-work. In all of these particulars, coöperation,
+judiciously conducted, has been shown to yield surprising economies.
+
+But there are other advantages even more important than its economy in
+favor of the "flat." Freedom from housekeeping cares has already been
+touched upon. In the "tower," life is spent in training and treating
+with servants, mechanics and market-men. The private cook is a volcano
+in a house, slumbering at times, but always ready to burst forth into
+destructive eruption. True repose is out of the question, and we are
+told that "the motive for foreign travel of perhaps one-half of
+Americans is rest from household cares and the enjoyment of good
+attendance, freed from any responsibility in its organization and
+management."
+
+Security against burglary and fire is another. In a good
+apartment-house, trained watchmen stand on guard night and day to
+protect the occupants, and stand-pipes, hose and fire-buckets are
+provided in all the halls, and kept in repair for emergency.
+
+The family may leave their apartments for travel summer or winter,
+knowing that their property is as secure as modern appliances, system
+and ingenuity can make it. Not so with our isolated dwelling. The cost
+of providing all these means of protection is too great to make them
+practicable. The result is that the fear of burglary and fire at all
+times causes uneasiness, particularly on the part of the wife during
+the absence of her husband.
+
+Beauty in the architectural arrangement of the rooms is a third
+advantage of the "flat." In this it has all the advantage of the
+double house or residence of the immensely rich. The rooms may be
+grouped in a manner which renders possible the highest architectural
+effect, whereas in the "tower" the perpendicular arrangement evidently
+precludes such opportunity by limiting the design to a wearisome and
+monotonous repetition from basement to attic.
+
+No argument can be sustained against the "flat" on the ground of
+transmission of sound or want of privacy and isolation, for sound may
+be as fully deadened as in the "tower" by means of the 12-inch brick
+separating walls shown in our plan, and the most improved deafening
+treatment of the floor-joists.
+
+Isolation may be made complete in the "flat," the private halls and
+front doors of each suite being in every respect the equivalent of
+those in the "tower"; the only difference being that with the "flat"
+the outer world begins with the public hall and its elevator, while
+with the "tower" it begins with the public street and its horse-car.
+
+Add to these advantages the possibility for a greatly enlarged and
+delightful social intercourse which a properly arranged and conducted
+apartment-house provides, and we have as near an approach to the ideal
+of a human habitation as has yet been devised.
+
+J. P. PUTNAM.
+
+
+
+
+ARCHITECTURE IN BROOKLYN.
+
+
+[Illustration]
+
+The city of Brooklyn has at last waked up to realize her size and
+importance architecturally. Brooklyn, though growing very rapidly and
+having many buildings of importance, has really had very little good
+architecture, for the simple reason that the profession, not being in
+any way organized, could not, as a rule, receive the treatment due
+respectable architects. For this reason many young men who would not
+be capable of practising elsewhere, have flocked to this city, and by
+various methods, many of which are far from honorable, have succeeded
+in getting control of most of the work. However, we hope for better
+things.
+
+The Brooklyn Institute some time ago decided to organize a Department
+of Architecture, and for this purpose a meeting of architects was
+called, which led to several more meetings and the attendance at these
+was exceedingly hopeful for the new department, some forty or fifty
+architects signifying their willingness to help along in the work;
+finally a public meeting was held in the Institute on Friday December
+13, at which some six or seven hundred persons were present, and the
+Department was fully organized; the constitution carefully thought-out
+at the previous meetings was adopted, and the following list of
+officers chosen:
+
+_President_, G. L. Morse; _Vice-President_, Louis De Coppet Berg;
+_Secretary_, William B. Tubby; _Treasurer_, Gustave A. Jahn;
+_Committee on Current Work_, Richard M. Upjohn, R. L. Daus and Louis
+De Coppet Berg; _Committee on Museum and Library_, Walter E. Parfitt,
+Pierre Le Brun; and Wm. Hamilton Gibson; _Committee on Competitions
+and Awards_, R. L. Daus, D. E. Laub, Russell Sturgis; _Committee on
+Professional Practice_, Walter Dickson, Albert F. D'Oench, Richard M.
+Upjohn; _Committee on Social Intercourse_, H. P. Fowler, Charles T.
+Mott and General Ingram.
+
+During the necessary intervals of balloting, etc., the President, Mr.
+George L. Morse, made a short address, setting forth the history of
+the previous meetings, and congratulating the local architects on the
+prospect of having a strong and well-organized society.
+
+Mr. Louis De Coppet Berg, of the firm of J. C. Cady & Co., Architects,
+then addressed the meeting as follows:--
+
+      When a young man enters a profession, and particularly
+      the profession of architecture, if perchance he gets
+      an original idea, or a little knowledge, he at once
+      becomes very secretive, tries to keep it all to
+      himself for fear some one else will benefit by it, and
+      marks all his drawings "The property of...," and "Not
+      to be copied, or used, without the consent of the
+      author, _under penalty of the law_." As he grows a
+      little older in his profession he begins to find out
+      that a few others have ideas as well as himself, and
+      know a little something once in a while; and as he
+      grows still older he finds that there are a great many
+      others, who know a great deal more than he does, and
+      who have a great many better ideas than he has; and
+      then it is, that he longs for communication with his
+      professional brethren, and he finds that, in order to
+      get the benefit of their ideas and knowledge, he must
+      freely communicate his own to them. Hence it is that
+      in most of the large cities we find some association
+      of architects; Brooklyn, however, the third city of
+      the Union, is unique in this respect, that it has
+      absolutely no place where professional architects can
+      meet and discuss the different problems of their
+      profession.
+
+      To remedy this evil, the Brooklyn Institute proposed
+      to establish a Department of Architecture, and for
+      this purpose called together a large number of local
+      architects.
+
+      Now, we have decided that, if we have any Department
+      at all, it shall be a live one; and this reminds me of
+      a squib I read in the paper the other day, telling
+      how, somewhere in Spain, they had unearthed an old
+      painting, which was pronounced a genuine Murillo. It
+      was said that the experts could not as yet determine
+      whether the subject of the cracked and dingy old
+      canvas was a Madonna or a Bull Fight, but that,
+      nevertheless, they did not hesitate to declare that it
+      was a great acquisition to art. Now, that is the
+      trouble with most associations of architects; if the
+      subject for discussion is only old, cracked and dingy
+      enough, they are happy. Nothing delights them more
+      than to spend all their time and energies in
+      discussing Etruscan or other antique architectures, or
+      the exact differentiations between the many styles of
+      architecture. Now, while we value the history of an
+      art, and shall give it all due attention, we propose
+      to remember that the modern architect, besides being
+      an artist, must be one of the most practical and
+      executive of business men.
+
+      We admit that our ancestors in the profession designed
+      beautiful castles, magnificent cathedrals and lovely
+      châteaux, but we remember that these castles, these
+      cathedrals, these châteaux were planned without any
+      comfort; that they had no plumbing devices, no methods
+      for cooking, no systems of heating or ventilation, and
+      no way of getting light but the miserable taper; while
+      to-day the architect, besides being a thorough artist,
+      who knows how to design and to color, besides being
+      thoroughly up in the history of his art, must know how
+      to plan for comfort, to construct for strength and
+      stability; must understand all the details of boilers,
+      machinery, dynamos, electric-wiring, heating and
+      ventilating systems, plumbing and sanitation, and
+      lastly must be able to manage the complicated finances
+      of large undertakings.
+
+      Now, to carry out these ideas in our work, we shall,
+      in the first place, establish a museum and library, to
+      which we shall welcome all gifts of books, pictures,
+      models, casts, etc., whether illustrating the
+      artistic, or the practical side of the profession.
+      Then we shall have a course of monthly, public
+      lectures by competent authorities, the subjects of
+      which will probably be very largely chosen from the
+      artistic side of the profession. We also propose to
+      have stated meetings of the Department monthly, at
+      which some carefully selected papers will be read by
+      experts, the subjects of which will be given out as
+      long in advance as possible, in order that all may be
+      thoroughly prepared for a full and open discussion;
+      and then, after these meetings, in order to promote
+      sociability amongst the members, and to show how
+      thoroughly practical we are, we propose to have
+      something to eat. We also hope later to establish
+      schools, not only for young men, but particularly for
+      draughtsmen, where they can be taught, not only the
+      art of drawing, but also the many practical branches
+      connected with the profession.
+
+The meeting was also addressed by the Rev. Dr. Chas. H. Hall,
+President of the Associate Members. He spoke at great length and kept
+his audience intensely interested by describing his own acquaintance
+with architecture, beginning with the original negro log-house down
+South, then the prim buildings of old Andover and Harvard, and finally
+how he saw the great former St. Ann's of Brooklyn, the likeness of
+which, he said, could be seen any day on the piers of New York when
+they were unloading dry-goods boxes; and how he finally went abroad
+and saw the beautiful architecture of Paris, which he could not praise
+enough. He was also unstinted in his praise of the modern beauty and
+architecture of Washington. He also spoke of his visits to London,
+and, while he admitted that Englishmen thought their architecture
+beautiful, he took exception, and claimed that the great St. Paul's,
+though beautiful to the English eye, was a cold barren building,
+blacked with smoke inside and out, a place where you could not be
+comfortable, nor hear the speaker at any distance. We regret that we
+are not able to give a verbatim account of his witty address.
+
+At the end of Dr. Hall's address, the lecturer of the evening,
+Professor Russell Sturgis, architect, of New York, addressed the
+meeting as follows, his subject being "The Study of Architecture,"
+with particular reference to the architecture of to-day.
+
+
+ADDRESS OF MR. RUSSELL STURGIS.
+
+With regard to architecture and all the arts of decoration, there is a
+strange difference between the practice of them, and such study as
+looks toward practice, on the one hand, and the history and theory of
+them, with such study as that involves, on the other. Quite completely
+are these two studies separated, each from the other. A man may be
+most active and successful as a practising designer, and successful in
+an artistic way, too, with no knowledge and little thought of the
+history of his own branch of art, and with little curiosity as to its
+philosophy or its poetry. And, on the other hand, a man may be a very
+earnest student, and a happy and delighted student of the history and
+criticism of art, and know nothing, and care as little, about the
+profession or practice of any art, or about studio ways and studio
+traditions. I do not know that in any branch of human study this
+distinction is so marked and so strong. This is to be regretted, for
+many reasons, but it can hardly be done away with so long as the
+community is generally careless of both the theoretical and the
+practical--so long as the students and the practitioners alike feel
+themselves nearly isolated units, floating in a sea of good-humored
+indifference. This state of things only time can alter. Only time can
+civilize our new community in intellectual and perspective matters;
+but there are some other conditions which are more immediately in our
+power to modify, perhaps--let us see:
+
+It is as true as if it had not been repeated, even to fatigue and
+boredom, that the arts of decoration have been in a bad way for a good
+part of the century past, at least among some European and
+Europeanized nations. I do not imagine that a Frenchman would admit
+that architecture and the arts of decoration had ever languished in
+his own society. Your cultivated Frenchman would say that some periods
+were better than others, but that there were no bad periods; he would
+say that, to be sure, the style of the First Napoleon's Empire was not
+a very fortunate style,--too stiff, too absurdly pseudo-classic,
+unworthy of France, a poor enough successor of the dainty and playful
+art of Louis XV, or the somewhat more refined and restrained art of
+Louis XVI: but he would say that it was art still, and the period a
+not wholly inartistic period; and even of the dull times of the
+Napoleon of Peace, from 1830 to 1848, while he would confess to a
+great deal of languor and lack of public spirit of all sorts, except
+in the struggle which the Romantic artists, headed by Delacroix, waged
+with the Classicists, headed by Ingres; while he would admit that the
+abundant wood-cuts and lithographs, the painting and statues much less
+abundant even in proportion, and the buildings very few and
+unimportant, were not sufficient to make up a great artistical epoch,
+that is, for France; yet as for its being an epoch without art,--such
+a thing as that, he would say France had not known since she was
+France. And he would be right.
+
+But if said of England it would be pretty nearly true, if it were said
+that the whole amount of art of the decorative kind that existed in
+England between 1810 and 1850, for instance, would fill but a small
+museum, and that its quality would fill but slight requirements, it
+would require a bold Anglophil to contradict. There came a dull pall,
+like that of her own black fogs, over social London, and the
+stucco-fronted languors of Baker Street and Portland Place are no
+worse than were the dull monotony of the interiors behind them.
+Veneered and polished mahogany furniture, very much too large and too
+heavy for the rooms; black haircloth, like the grave clothes of Art,
+for the covering of everything that could be sat upon; cold,
+brownish-red curtains, of shiny but not lustrous material; silver
+candlesticks of monstrous design,--these, and such as these, were the
+decorative objects which our fathers or our grandfathers admired, or
+felt that they must admire for want of better, during the unhappy
+years that I have cited. The delicate carvings that the furniture of a
+generation just previous had received, were forgotten. People put up
+with Chippendale chairs in their dining-rooms because they had
+belonged to their fathers and nothing special was offered to take
+their place; but there is no record that they cared for them. The
+richer and more fantastic carvings of Grinling Gibbons had never
+obtained any general recognition nor availed to modify the woodwork of
+the domestic interiors of England. The brocades and flowered silks
+which the eighteenth century had revelled in, and if in England not
+strong enough artistically to produce them itself, had brought into
+England from other lands;--these were replaced by the dismal things I
+have alluded to, and no vestige of them seems to have remained in the
+parlors of that unhappy time.
+
+Richness of costume had disappeared with the wars of the French
+Revolution. Embroidered silk coats had given place gradually to
+claret-colored and blue broadcloth, and this gave place to black, and
+all variety in costume had disappeared completely; and now, from 1810
+to 1850, fantastically varied and interesting house-furnishing and
+decoration had followed, as I suppose it inevitably must follow;
+costume, being, one fears, a necessary part of anything like a
+prosperous artistic epoch.
+
+Out of this gloomy depression the Anglo-Saxon world, in England and in
+this country, is trying to emerge. It began its efforts with the
+perfectly natural conviction that by studying the artistic history of
+the past, something could be done to benefit the arts of the present.
+The Gothic revival, which you have heard of so much, and which was
+followed with real ardor and with unquestioning zeal by crowds of
+devotees for years, beginning with, perhaps, 1840, was an attempt
+along the most obvious lines,--along what seemed to be the line of
+least resistance, to change the metaphor. To develop anew an old art,
+which had flourished so greatly in the past,--how easy! and how
+certain! How certain were the enthusiasts of that time, that by
+earnestly poring over and closely analyzing and heartily loving the
+buildings of the thirteenth and fourteenth centuries, such buildings,
+and others like them, could be built in the nineteenth! How happy was
+the conviction of all these men that it was not more difficult than
+that! The secret of what had been done was to be found in the
+phenomena themselves. There, in this parish church, in this cathedral,
+lay the secret of their charm. Let us analyze first, they said, and
+let us put together again the ingredients that our analysis shall have
+discovered, and we will re-create the thing that we are in search of.
+
+In like manner, in the minor arts, the people of 1850 felt, or some of
+them did, that they did not know how to weave curtains that it was
+worth any one's while to hang up, except to shut out the light and
+shut in the warmth; that so far as beauty of texture, beauty of
+pattern, and beauty of color went, they were powerless to produce
+anything of any avail. But they saw that the Venetians of the
+sixteenth century and the Florentines of the seventeenth century and
+the French of the eighteenth century had produced splendid stuffs; and
+although there were no museums in those days that condescended to
+anything so humble, such stuffs were still to be bought of the
+bric-à-brac dealers, and very cheap, too, and still existed, rolled up
+in some old garrets. By studying them, surely the art of making others
+like them could be learned. And so around the whole circle of the arts
+of decoration, it was believed, and in thoroughly good faith, and
+with, as it seemed, perfectly good reason, that the study of what had
+been would suffice, with zeal and patience and good will, to the
+production of what should be.
+
+Well, the experiment has failed. Archæology is the most delightful of
+pursuits, but it is not particularly conducive of good art. The German
+professor, who knows the most about Phidian sculpture, is as far as
+his youngest pupil from being able to produce anything Phidian, but,
+of course, this is not a fair example. The German professor does not
+profess to be a sculptor. Let us say then, that that sculptor now
+alive who knows the most, theoretically and historically about Greek
+art, is as far as his most ignorant contemporary and rival from having
+Greek methods of work. This is a safe proposition. I do not know who
+he is, nor can any one tell me. It is not a question of men, but of
+principles. The study of the monuments of art is one thing, their
+analysis, their criticism, their comparison, is one of the most
+attractive, the most fascinating, the most stimulating, the most
+absorbing of studies, one that I shall never cease commending in the
+most earnest way to all those persons to whom scholarship is dear and
+to whom it is a question of recommending a study which is worthy of
+their most earnest and hearty devotion, but it is not the study of
+practical art, that is another and a very different thing.
+
+The way to make good sculpture is to let the youth thumb and punch and
+dabble in wet clay, and see what he can make of it; and the way to
+make a painter is to give the boy now a burnt stick, and at another
+time a pin and a back of a looking-glass, and see what he can
+delineate with such materials as these and with all other materials
+with which a line can be drawn. To look at the world, and what it
+contains, and to try and render what is suggested to him,--that is the
+training for the artist, and it has more to do with our beloved study
+of archæology than if they were not concerned with the same subject.
+This, I say, has been proven. Sad experience, the waste of forty years
+of work, disappointment and despair, have taught some of our artists
+what others did not need to learn,--that the way to succeed was not
+through study of the past. The artist has no primary need of
+archæological knowledge; the archæologist has no need of any fact that
+the artist can furnish him with.
+
+Suggestions; yes! Each side can furnish the other with suggestions in
+abundance, and suggestions which each can immediately profit by. An
+able artist, if a fellow of modesty and frank speech, can hardly talk
+without giving the student of the theory of art hints which the latter
+should study over at home before he sleeps upon them; for the secret
+of much that is vital and essential in his study is to be found in
+these hints; and on the other hand, I imagine that an artist would be
+better off, and have more play of mind, and readier and fresher
+conceptions, if he would now and then listen to what the student of
+old art has to tell him about what is to be observed in this or that
+monument of the past. But beyond that there is no connection between
+them. I will run two _ateliers_ side by side, one for archæologists,
+and one for practical students of architecture and they need never
+mix.
+
+This will be more readily admitted, perhaps, in the case of the arts
+of expression than in the case of arts of decoration and let us define
+these terms. If you will allow me, I will quote from an address
+delivered a year ago before the New York Architectural League. Any
+work of art whose object is to explain and express the thing
+represented, or to convey the artist's thought about the thing
+represented, is art of representation, or, if you please, art of
+expression, or if you please, expressional art. I offer these as
+nearly synonymous terms. But if, on the other hand, the work of art
+has for its object the adornment of a surface of any sort, as a
+weapon, a utensil, an article of costume, and if the natural objects
+represented or suggested are used only as suggestions to furnish
+pretty lines and pleasant tints, which lines and tints might have been
+after all represented apart from the object were man's mind more
+creative than it is,--that is art of decoration.
+
+Now, architecture, you see, is primarily an industrial affair, a
+method of covering men in from the rain, and admitting light into
+their protected interiors, and of warming those interiors, and in a
+few rare cases of ventilating them, and in providing a variety of
+apartments, communications, and the like for the varied requirements
+of a complicated existence; and it need not put on any artistic
+character at all. But as architecture becomes a fine art, it is
+perforce one of the arts of decoration. It has nothing to do with the
+arts of expression. Mr. Ruskin and all his life work to the contrary,
+notwithstanding, the business of building is not to tell tales about
+the world and its contents, not to set forth the truths of botany or
+of zoology, or of humanity, or of theology. If zoological or botanical
+or human objects are introduced, or representations of them, it is not
+for the sake of information that can be given about these interesting
+things, nor for the sake of expressing the artist's mind about them,
+nor for the sake of saying anything whatever in regard to them. It is
+for the sake of making the building beautiful. When the Oxford Museum
+stood presenting to the street a flat-fronted wall, diversed with
+pointed arches, and carvers were set to work bands of rich sculpture
+around the windows; although Mr. Ruskin had a great deal to do with
+that edifice, and architects of his own choosing were in charge of it,
+and clever Irish workmen of his own approval were producing the
+interesting carvings of those archivolts and tympanums, in spite of
+all theories, the object aimed at and the object attained by that
+outlay of time and money and skill was the beautifying of the
+building, and this was achieved to an extent probably beyond what its
+planners proposed to themselves, for the effect of well-applied
+sculpture upon a building is beneficial to an extent that would never
+be believed by one who has not often watched the changes that can be
+wrought in this way. They who have said that the Gothic Cathedral is
+nothing but a work of associated sculpture are not far wrong, and to
+produce a lovely building, one would rather have the blankest
+malt-house or brewery in New York, and some good carvers set to work
+upon it, than to have the richest architectural achievement of our
+time, devoid as it is and must be of decorative sculpture. For to get
+decorative sculpture, you must have your sculptors; and they, you
+know, are wanting. Where are the men who will model capitals and
+panels in clay, with some sense of ornamental effect? We have the men
+who can make a copy in relief of an architect's drawings: but then the
+architect, even if he have the sense of ornamental effect, in the
+first place can never draw out, full size and with care, all the work
+required in a rich building, and, in second place, can never design
+sculptured form aright by mere drawings on the flat. The architects of
+New York and Brooklyn are employing today, I suppose, 3,000
+draughtsmen, of which number two or three hundred at least are engaged
+most of the time in making large scale and full-size drawings of
+architectural detail, in which sculpture plays a large part. Well, we
+need as many modellers, who, either in architects' offices, or in
+stone-cutters' yards and terra-cotta works, shall be putting into
+tangible form the dreams and thoughts of the designer's brain. "As
+many," do I say? Once it is found that architectural sculpture can be
+got promptly and cheaply, and conveniently, it is not 200 modellers
+only that this big community around the big bridge will need; but
+architects will engage three or four or a dozen at a time, as they now
+engage draughtsmen when big jobs come in.
+
+For so the relative success and power today of the arts of expression
+seem to assure us. When we come to look into the subject, we find that
+modern life, which finds its expression freely in prose and in verse,
+and to a slight extent in music, finds some expression also in those
+arts which deal with expression. It is perhaps not a great artistic
+epoch that we are living in, although, if some one were to rise by and
+by, and maintain that it was, I would not be sure that he was wrong.
+It is certainly a kind of novel and in many ways admirable art in the
+way of expression. Great thoughts have found expression almost worthy
+of them in painting, in sculpture, in etching, in wood-engravings, in
+color and in black-and-white; in the single costly work of art and in
+the easily multiplied and cheap productions of the press. It is true
+that in these the thoughts are not always worthy of the expression
+they receive. This is partly because we have nearly lost the desire of
+talking about our religious beliefs in line and color and modelled
+form, and that no other subject of equal universal interest has taken
+the place of the ancient, simple and popular theology.
+
+Patriotism, as shown in scenes of battle and pictures of deeds of
+gallantry and self-sacrifice; poetry, as seen in pictures which
+suggest sweet thoughts of young love and of home affections and of
+childish grace; the love of wild nature, as seen in our school of
+landscape art, now nearly fifty years old and flourishing--none of
+these nor all of them together have quite replaced the priestly
+theology of the Middle Ages as a subject for art, for none are quite
+so universal or appeal quite so readily to the untutored eye and mind.
+And so the uniform is better painted than the soldier very often, and
+the outside of nature than her inward spirit, and the flesh of the
+baby or the golden hair of the girl better than the baby nature or the
+girl nature in each instance. But this is to be stated merely as a
+drawback from praise which would otherwise be too unmeasured and too
+universal. The world contains a vast amount of good art of very recent
+date, and every year adds to the amount. The worst thing that can be
+said of the time is that it should be capable of producing so
+incalculably great an amount of bad art at the same time; that the
+walls of the Paris _Salon_ should be so hung with inferior work every
+year that the important pictures are lost in chaos; and that, while
+this is true of the _Salon_, it is true to an immeasurably greater
+degree of the Royal Academy, of the New York Academy and every other
+exhibition in the world, except where a selected few paintings hang on
+reserved walls.
+
+And as for sculpture, that is to say expressional sculpture, it is
+even more true in this case that the poor works terribly outnumber the
+good ones, though this is less noticed and makes less impression on
+the public. Our English-speaking communities do not even think of
+sculpture as a thing to look to for any refined enjoyment. How far the
+labors of a dozen living men, all Frenchmen but two or three, may have
+sufficed during the past score of years to change the public mind in
+this matter, I am not ready to say; but, surely, it has not been the
+general thought that sculpture is anything more than an expensive and
+perfunctory way of doing one's duty to a great occasion or a great
+man. This, however, is temporary. The good sculpture exists and will
+be recognized. So much for expressional art.
+
+But, as for the arts of decoration, once more, there is not so much to
+be said. As yet the way to subdue technicalities and enthrone design
+has not been discovered. The way to produce beautiful buildings is
+known to none. The way to produce good interior decoration, good
+furniture, good jewelry, beautiful stuffs, has only been seen by here
+and there one, and his lead no one will follow. The fact of his having
+done a fine thing, or of his doing fine things habitually, acts not as
+an attraction to others, but as a warning to them to keep off. Every
+artist strives to do, not as his neighbor has done, and better, but as
+his neighbor has not done. The potteries work no better, because of
+one pottery which turns out beautiful work. The wall-paper makers
+still copy, slavishly from Europe and Japan, fortunately if they do
+not spoil in copying, in spite of the occasional production of a
+wall-paper which an artist has succeeded in. The carpet-weavers
+caricature Oriental designs by taking out of them all movement and
+spirit, while their best customers buy the original rugs. If some rich
+man were to make a museum of modern decorative art, from which he
+would carefully exclude all that which was not in some way fresh and
+intelligent, and if not good, at least promising, a room like this one
+would hold all his trophies, even though he should use his millions to
+ransack Europe and America. It is nobody's fault, least of all is it
+the architect's fault. For see what you expect of an architect. He
+must know about digging deep holes; and about sheath-piling, that he
+may retain the loose soil and keep it from smothering the workmen at
+the bottom of his excavation; and he must know the best machines to
+use for drilling rock and the best method for removing it; he must
+know about all the stones in the country and the best way of making
+concrete; he must be familiar with the thousand new inventions, and
+discriminate carefully and rightly between this range and that, and
+between this form of trap and the other, between a dozen different
+steam-heaters and twenty systems of ventilation; he must be prepared
+to give his owners exactly what they want in the way of windows and
+chimney-corners, of cupboards, shelves in available corners, and
+recesses to put away step-ladders and brooms. But observe that if he
+fails in any one of these things, he will fail in that which his owner
+really cares about; still more, if he fails in the economical
+administration of the funds allowed for the building, will he fail in
+that which the owner most cares about. Less beauty, less success in
+producing a novel, an original, a thoughtful, a purposeful design will
+hurt him but little, but insufficient care as to the circulation of
+hot-water will ruin him.
+
+Now, no man can do all that, and still produce delicate and thoughtful
+designs. No man can be busy laying out work, superintending work,
+explaining to contractors and reasoning with employers, and still be
+producing delicate and thoughtful designs. An extraordinary fellow
+here and there may surprise us by what he does under such
+circumstances, but it will be but little and feeble in comparison with
+what he might do. The community must see its way to paying some to
+eschew plumbing and stick to design, if they mean to have any design.
+This has been done, indeed, in the matter of monumental-glass, and to
+a certain extent in wall-decoration by means of painting; but it must
+be done in what is more vital yet--in architectural sculpture of all
+sorts and all grades; of vegetable, animal and human subjects; in low
+relief, in high relief and in the round; in detached work and
+associated groups--or no architecture for us. I say, then, that as
+things are constituted, the architects are not particularly to blame
+for not having achieved much in the way of decorative art, either on
+the exteriors of their great buildings or in the beauty of their
+interiors. Not much to blame; but yet they are so far to blame as that
+no one else is to do this work if they do not. The architects and the
+artists who are associated with them in the work of supplying us with
+what we call decorative arts of all sorts, form the only class of the
+community to whom the rest of the community can look to for
+advancement in this direction. It is probable, then, that what such an
+associate has to do is two-fold; or rather it has two things to do:
+One is to study the beautiful art of the past, and to study it
+patiently and lovingly, feeling confident of this that the interests
+of the pursuit grow more absorbing every day; and the other is to
+watch the arts of the present, and to keep an open and perspective
+mind with regard to them, feeling sure of this that they will grow
+more complex and interesting every day, and that now and again some
+chance of something good will appear, here and there, giving us great
+opportunities to help, if we are clever enough to perceive them.
+
+The study of the arts of the past is more entrancing every day because
+we are so much better informed, because we are daily better informed
+about them. Archæology, having gone through a long apprenticeship, is
+doing wonders today; and, although ancient buildings are suffering
+from the accursed restorer, they are also more thoroughly known, more
+rightly judged, more sympathetically analyzed than ever before; while
+monuments other than buildings, those, that is, that are not open to
+the attacks of the restorer, are preserved in practical safety, and
+they also are minutely and honestly studied in a way of which our
+ancestors knew nothing. There is, therefore, more pleasure to be got
+out of the study of ancient art today than ever before, and that
+condition of things is a permanent one. Our children will have even
+better opportunities than we.
+
+And, as for the arts of the present, the arts that are being produced
+around us, they are to be looked at as calmly and temperately; with,
+on the other hand, as little as possible of that provincial which
+makes cathedrals out of carpenters' Gothic churches, and, on the other
+hand, without carping, but with good-natured patience, with a feeling
+that if things are not very good, they can hardly be expected to be
+better; that we, in this country at least, are only half-civilized in
+the ways of cultivation, and we do uncommonly well for such babes as
+we are in literature and art. With patience then, and with impatience
+about nothing but this, that we deny ourselves the study of the great
+works of art of Europe and Asia by thirty per cent and forty per cent
+and sixty per cent duty, and deny to the author all proper
+remuneration for his work by the lack of common honesty. No other
+nation of European blood does these things. It is not a matter of
+politics. No protectionists so ardent in the Bismarck ranks as to
+propose to levy a tax on literature and science. No selfish grabber so
+small, even among peoples whom we consider less honest than we, who
+approves of stealing an author's books under color of the law. While
+we send to Washington Congressmen who keep such laws on the
+statute-books, our community is not "barbarous" so much as savage; for
+such acts are the acts of savages; that is, of men who have no
+reasonable motive for their acts, but act impulsively, like grown-up
+children.
+
+And now, after this evening, let us return from theory and general
+principles, to practice and details, and see whether we can find out
+how it is that Indians combine color, how Japanese use natural form
+decoratively, how Chinamen make porcelain lovely and noble; how Greeks
+of old time have sculptured and Frenchmen have created Gothic
+architecture, and Italians have raised painting to the highest heaven
+of achievement. There is happiness, if study can give it. And for
+those to whom scholarship is less attractive than action and
+production, there is sculpture in small and large, in stone, marble,
+terra-cotta, wax, clay, plaster, bronze, iron, lead, gold and silver;
+there is inlay of all material and styles, from square tiles to minute
+glass tesseræ; there is painting with all known vehicles and of all
+sorts; the whole to be devoted to the beautifying of buildings in
+which we have to live and work and rest. There is a plenty to do for
+those who know how to begin.
+
+       *       *       *       *       *
+
+TO PROTECT PLATE-GLASS IN BUILDING.--Passing along Dearborn Street,
+recently, I saw a crowd watching closely the placing in position of
+some enormous panes of glass in a handsome new building. The glass was
+the best French plate, and the workmen handled it as carefully as if
+it were worth something more than a week's wages. The task of putting
+it in place was no sooner completed than one of the workmen grabbed a
+pot of whiting and with a big brush daubed a lot of meaningless marks
+on it. I thought it about as silly a thing as a man could do, and with
+the usual reportorial curiosity asked the foreman why he allowed it.
+The answer was a crusher. "Why," said he, "we have to mark them in
+that way or they'd be smashed in no time." My look of amazement
+doubtless prompted him to further explanation, for he said: "You see,
+the workmen around a new building get in the custom of shoving lumber,
+etc., through the open sash before the glass is put in. They would
+continue to do it even after the glass is in if we didn't do something
+to attract their attention. That's the reason you always see new
+windows daubed with glaring white marks. Even if a careless workman
+does start to shove a stick of timber through a costly plate of glass
+he will stop short when his eye catches the danger sign. That white
+mark is just a signal which says, 'Look out; you'll break me if you
+are not careful.'"--_Chicago Journal._
+
+
+
+
+THE STRUCTURE OF SANDSTONE.[1]
+
+AS AFFECTING ARCHITECTURAL AND ENGINEERING WORKS.
+
+
+[Illustration]
+
+The native stones we Liverpool architects have at command are all
+sandstones belonging to the geological division called the Trias, or,
+in older phraseology, the "New Red Sandstone," which lies above the
+coal-measures. The term "New Red" was given to distinguish these rocks
+from the "Old Red," which lies below the Mountain Limestone, the
+lowest division of the carboniferous rocks. It is, perhaps, needless
+to remark that the "New Red" is not always red; sometimes it is
+yellow, at others, like some of the Storeton stone, white. These red
+rocks occupy a large part of Lancashire and Cheshire, and especially
+in the latter county give the characteristic scenery which
+distinguishes it. The escarpment of the Peckforton Hills of which
+Beeston Castle Hill is an outlier, and that at Malpas, farther south,
+gives rise to some very beautiful scenery; and again at Grinshill and
+Hawkstone, in Shropshire, we have a repetition of much the same kind
+of landscape. It will be necessary for my purpose to say briefly that
+these red rocks have been divided into the "Bunter" and "Keuper"; the
+lower division, the Bunter, occupying most of the ground about
+Liverpool; the upper, the Keuper, being more developed on the Cheshire
+side. All these sandstones are not fit for building purposes, and
+those that are so used differ considerably in their durability. It is
+my object in this short Paper to show upon what the perfection or
+imperfection of the various stones for building purposes depends--a
+matter of great moment to an architect or engineer who is desirous
+that his work should last.
+
+Sandstones, or, in masons' language, "free-stones," from the freedom
+with which most of them are worked when freshly taken from the quarry,
+are plastic or sedimentary rocks. That is, they are composed of
+separate particles which have once existed as sand, like that we see
+on our own shores, or in the sand dunes of Hoylake or Crosby.
+Sandstones are usually more or less laminated, and are stronger to
+transverse stress at right angles to their natural bedding than in any
+other direction, a fact recognized in every architect's specification,
+which states "all stones must be laid on their natural bed," a
+direction that unfortunately sometimes begins and ends in the
+specification. The cause of the superior strength is not, however,
+generally understood.
+
+I have devoted some considerable time to an investigation of the
+internal structure of sandstones, which I have communicated from time
+to time to various scientific societies and publications, and will now
+briefly explain it in a manner I judge will be most likely to interest
+architects and engineers. The particles or grains of which the rock is
+built up are of various forms and sizes, from a thoroughly rounded
+grain, almost like small shot, to a broken and jagged structure, and
+to others possessing crystalline faces. These grains, most of them
+possessing a longer axis, have been rolled backwards and forwards by
+the tides or by river-currents. The larger grains naturally lie on
+their sides when freshly deposited, with their axes in the plane of
+bedding; the smaller and more rounded particles naturally tend to
+occupy the interstices between the others, and in this way rude
+divisional planes or laminations are formed. Each layer forms a sort
+of course like coursed-rubble in a wall, and by the necessities of
+deposition a certain rude geometric arrangement results, by which the
+particles of the future rock overlap each other, and thereby gain what
+is known to architects as bond.
+
+But, so far, this is only like "dry walling," the mass wants cementing
+together to make it solid. The cementing process happens in this way
+in our rocks, which are almost purely silicious: Water containing a
+minute quantity of carbonic acid in solution, which most rain-water
+does, especially when it comes into contact with decaying vegetation,
+has the power of dissolving silica to a slight extent. This is proved
+in various ways, and is shown in the fact that all river water
+contains more or less silica in solution.
+
+The circulation of water through the sand deposit of which our rocks
+are made dissolves part of the grains, and the silica taken up is
+redeposited on others. I cannot explain the chemical reaction that
+produces this deposition, but that it takes place in the rock during
+some period of its history is certain. I exhibit a quartzite pebble
+taken from the Triassic sandstone at Stanlow Point, which, as can be
+easily seen, was at one time worn perfectly smooth by attrition and
+long-continued wear, for the quartzite is very hard. Upon this worn
+surface you will see spangles and facets which reflect the light, and
+on closer inspection it will be evident that they are crystals of
+quartz that have been deposited upon the surface of the worn pebble
+after it became finally enclosed in the rock.
+
+A microscopic examination of the granules of the rock itself will show
+that many of them have had crystalline quartz deposited upon their
+surfaces, and in some cases rounded grains have in this way become
+almost perfect crystals.
+
+An examination of the best sandstones for building purposes shows that
+they possess more of these crystalline particles than the inferior
+ones, and a good silicious sandstone shows its good quality by a fresh
+fracture sparkling in the sun. In addition to these crystalline
+deposits of silica I believe it exists also as a cement which binds
+the particles together when in contact.
+
+It certainly is, however, with this secondary silica that the original
+sand has become a building stone, and the particles have become
+interlaced and bound together. Thus, in building parlance, the grains
+are the rubble of the wall, the currents the quarrymen, masons and
+laborers, and the silicious infiltration the mortar.
+
+And now, when I am on the subject, I may point out that this hard and
+compact quartzite pebble was also once loose sand. The only difference
+between the sandstone in which it was imbedded and itself is that in
+the latter case the process of silicious deposit has gone further, so
+that all the interstices between the grains have been absolutely
+filled up with the cement.
+
+It is not possible to see this clearly with the naked eye, but by the
+aid of a slice of the rock prepared for the microscope the granular
+structure of the quartzite is made perfectly plain. So much for the
+mechanical, chemical, and molecular structure of sandstone, all of
+which affect the strength and quality of the stone; but to architects
+there is another element of consequence, namely, the color. The rich
+red of our Triassic sandstones is due to a pellicle of peroxide of
+iron coating each of the grains. That this is merely surface coloring
+is shown by the fact that hydro-chloric acid will discharge the color
+and leave the grains translucent. Unfortunately the most brilliantly
+colored stone is not the most durable, and it so happens that these
+brilliant red sandstones are often composed of exceedingly rounded
+grains. Also some of the very red sandstone has an interfilling of a
+loose argillaceous irony matter detrimental to the stone as a building
+stone. The most durable of the red sandstones are those having a paler
+or grayer hue, like those of Woolton, Everton, and Runcorn. This
+distinction of color was brought freshly to my mind a short time since
+in looking at the church of Llandyrnog, in the Vale of Clwyd, a few
+miles from Ruthin. Some of the dressings, quoins for instance, were of
+a very brilliant-colored red sandstone, and others of a pale gray or
+purple red. It struck me that these latter must be of Runcorn stone,
+which I was afterwards informed was the case. The very red stone was
+the natural stone of the Vale, originally used for dressings, which
+were replaced, on the restorations being made, with Runcorn stone. The
+original stone was æsthetically the best, but the introduced stone the
+best structurally. The old stone of Chester Cathedral was a very red
+Bunter sandstone, which decayed badly. It has been replaced in the
+restorations by Runcorn stone, which belongs to the Keuper division,
+which has caused the Geological Surveyors to say that the Keuper is a
+better building stone than the Bunter. In this case it is; but, on the
+other hand, the Bunter sandstones, or Pebble-beds, as they are called,
+near Liverpool, are often better than the Runcorn Keuper. The Runcorn
+building stone lies between two beds of very red loose rock, showing
+that it is not its geological position, but its _structure_, that
+makes it a good durable stone.
+
+It is a remarkable fact that most of the pebbles included in the red
+rocks are quartzites, or indurated silicious sandstones; and, as
+showing that their solidity and hardness are due only to a further
+continuance of the deposit of silica in the interstices, it has been
+proved that the purple quartzites are purple only by reason of the
+original coloration of the grains which have been enclosed between the
+original grains and the secondary silica. Yellow sandstone is colored
+also by iron, and I have frequently seen the red sandstone shading of
+to the yellow without any division whatever. The various shades and
+tints of sandstone are necessarily due to the coloration of the
+individual grains.
+
+Most of you will, no doubt, have observed the sort of marbling or
+grain upon the stone of our old buildings, such as the Town-Hall,
+which I believe was obtained from quarries occupying the site of the
+St. James's Cemetery. This is due to what is called current bedding;
+that is to say, the grains have been arranged along oblique lines and
+curves instead of in parallel laminæ. This stone, which is
+geologically equivalent to the Storeton Stone, and of the same nature,
+has stood very well. Some of the Storeton Stone, if free from clay
+galls, although very soft when quarried, becomes hardened by exposure,
+and will stand the weather much better than a harder and more
+pretentious material.
+
+The stone of Compton House is in a very good condition, although the
+mason told me such was the hurry in rebuilding that they could not
+stop to select the stone, and also that it is placed in all sorts of
+positions with respect to its quarry bed. Perhaps the circumstances
+that the stone is not in parallel laminæ may have something to do with
+its durability, notwithstanding this latter fact.
+
+It would take a long Paper, and several evenings, to exhaust the
+subject even of our local stones. I may mention, however, that the
+quarries of Grinshill, between Shrewsbury and Hawkstone, yield a
+beautiful white sandstone, of a finer grain than Storeton, but of a
+similar quality.
+
+Most of the public buildings of Shrewsbury are built of it, and I am
+informed that it was to some extent used in the Exchange buildings.
+The rocky substratum of a district can be well seen in its ancient
+buildings, for in old times carriage was so important an item that the
+old builders could not go far for their stone; hence we see that the
+old churches of part of Lancashire and most of Cheshire, and a large
+portion of Shropshire, are of red sandstone. Some of it has stood very
+well, while some has decayed into shapeless masses. There is a
+tendency to exfoliate parallel to the exposed or worked surface, in
+all stones, irrespective of the way of the bed, but more so where the
+stone is set up on edge, or at right angles, to its quarry bed. It is
+interesting and peculiar to see in some of the old buildings erected
+with pebbly sandstone how the white quartz pebbles stand out from the
+surface like _warts_. This is due to the greater indestructibility of
+the quartz pebbles, and the weathering away, or denudation, of the
+sandstone face.
+
+Before leaving the subject of local sandstones it will be necessary to
+refer to one quality they have which is of excellent utility as
+regards the storage of water, but which is decidedly a disadvantage in
+building stone--that is, their porosity. I have proved by actual
+experiment that a cubic foot of Runcorn Stone will take up three
+quarts of water by capillarity, and that it is possible to make a
+syphon of solid sandstone which will empty a vessel of water into
+another vessel by capillarity alone.[2] This shows the absolute
+necessity of damp-proof courses, not only in the main walls of
+buildings of stone, but even in fence walls, for the continual sucking
+up of moisture from the earth, and its evaporation at the surface of
+the stone, make it rapidly decay. I think I could show you this fact
+in almost any stone building in Liverpool or elsewhere where the stone
+is in direct connection with the earth. It also shows the necessity of
+taking care that no stones go through the wall to the interior
+surface, and of precautions for backing up stone walls with less
+porous materials, or the introduction of a cavity. If you could
+suppose such a sandstone wall 40 feet long, 20 feet high, and 1 foot 6
+inches thick fully saturated, it would hold almost a ton of water! Of
+course, it never would be fully saturated, because of the evaporation
+from the surfaces, but with a southwest aspect, and very wet weather,
+it might become half saturated. But what does evaporation mean? It
+means the loss of so much heat and the burning of so much coal to
+supply its place. From this it will be seen that a pure sandstone wall
+is a thing to be avoided.
+
+The subject is so wide a one that I have felt compelled to restrict my
+remarks to local sandstones, but the general principles of structure
+apply to all sandstones alike.
+
+It is difficult by written description to tell you how to select a
+good stone, but one essential is that there shall be a good deposition
+of secondary quartz, as shown by the crystalline sparkling on the
+freshly fractured surface.
+
+It must also be free from very decided laminations, for these
+constitute planes of weakness and are often indications of the
+deposition of varying materials, or the same material in various
+grades of fineness. It must also not be full of argillaceous and
+iron-oxide infillings. It should possess a homogeneous texture. The
+best way to study building stones is to study them in old buildings,
+for nature has then dissected their weaknesses.
+
+FOOTNOTES:
+
+[1] Read before the Liverpool Architectural Society, on the 18th
+November, 1889, by Mr. T. Mellard Reade, F.S.G.S. _Fellow_,
+President of the Society, and printed in the _R.I.B.A. Journal_.
+
+[2] This experiment was made before the audience.--T. M. R.
+
+       *       *       *       *       *
+
+WARFARE ON OAK TREES.--"The world seems to have waged a special
+warfare upon oak trees," says a St. Louis man. "Before iron ships were
+built, and that was only twelve years ago, oak was the only thing
+used. When this drain ceased oak came into demand for furniture, and
+it is almost as expensive now as black walnut. No one feels the
+growing scarcity of oak like the tanner, and the substitution of all
+sorts of chemical agencies leads up to the inquiry as to whether other
+vegetable products cannot be found to fill the place of oak bark. The
+wattle, a tree of Australian growth, has been found to contain from
+twenty-six to thirty per cent of tannic acid. Experiments have been
+made on the Pacific Slope, where the wattle readily grows, and in a
+bath of liquor, acid was made from it in forty-seven days, whereas in
+liquor made from Santa Cruz oak, the best to be found in all the
+Pacific States, the time required is from seventy-five to eighty days.
+The wattle will readily grow on the treeless plains of Texas, New
+Mexico and Arizona, the bark of which ought to yield five dollars per
+acre counting the fuel as nothing."--_Invention._
+
+
+
+
+THE BARYE EXHIBITION.
+
+
+[Illustration]
+
+Entering the handsome galleries of the American Art Association, one
+finds the lower floor given up to the Barye bronzes, while the upper
+rooms are devoted to the "Angelus" and the paintings by Millet and
+other contemporaries of the great French sculptor. Passing on the left
+of the entrance the superb, large bronze of "Theseus battling with the
+Centaur," one is fronted by the great cast of the "Lion and Serpent,"
+which from the centre of the gallery dominates the surrounding
+exhibits. Both of these are the property of the Metropolitan Museum of
+Art, the cast having lately been presented to that institution by the
+French government. Upon the right hangs Bonnat's vigorous portrait of
+Barye, on the left wall one sees the water-color of the "Tiger Hunt,"
+and all around are cases, groups and isolated pieces of the bronzes.
+
+Here are over 450 works in wax, plaster and bronze, of which Mr. W. T.
+Walters contributes one-fourth, while the Corcoran Gallery sends its
+entire collection, numbering nearly a hundred, Mr. Cyrus J. Lawrence
+loans sixty-two pieces, Mr. James F. Sutton fifty-two and Mr. Samuel
+P. Avery thirty. Other contributors, who have followed their generous
+example, are Messrs. R. Austin Robertson, Theodore K. Gibbs, Robert
+and Richard M. Hoe, James S. Inglis, Richard M. Hunt and Albert
+Spencer. Of many of the subjects there are several copies, and
+amateurs can study proofs and patinas to their heart's content. From
+Mr. Walters's famed collection are the four unique groups modelled for
+the table of the Duke of Orleans, chief of which is the "Tiger Hunt,"
+where two of the huge cats attack an elephant from whose back three
+Indians defend themselves with courage. The giant pachyderm writhes
+his serpent-like trunk in air and plunges forward open-mouthed,
+trumpeting with pain from the keen claws of the tigers hanging on his
+flanks. The Hunts of the Bull, the Bear and the Elk are worthy
+companions of this magnificent bronze, offering wonderfully fine
+examples of condensed composition in the entwined bodies of men and
+beasts, and filling the eye with the grand sweeps of their circling
+forms. The same liberal patron of art also lends his unique piece of a
+walking lion, in silver, made in 1865 for a racing prize, and a
+plaster-proof of the little medallion of "Milo of Crotona attacked by
+a Lion," executed by Barye in 1819 for the Prix de Rome competition at
+the École des Beaux-Arts. This little gem, worthy of the antique, did
+not secure the prize, however, which went to a now-forgotten sculptor
+named Vatinelle. It had often been so before, it has often been so
+since down to our day (Comerre was preferred to Bastien Lepage in
+1875) and doubtless it will be so for who knows how many years to
+come.
+
+All the phases of that terrific struggle for existence where beast
+hunts beast, which have been depicted by Barye's genius, are here.
+Here is the "Tiger devouring a Crocodile" (with which Barye made his
+first appearance at the _Salon_, in 1831); the "Jaguar devouring a
+Hare"; the "Lion devouring a Doe," the "Crocodile devouring an
+Antelope," the "Python swallowing a Doe," the "Tiger devouring a
+Gazelle," the "Bear on a tree devouring an Owl" and the "Lion
+devouring a Boar." What a series of banquets on blood and warm, almost
+living flesh is here presented! How cruel these creatures are to each
+other, is the thought that first comes to us, but a second, reminds
+that it is but their instinct and a necessity of natural law, and
+repulsion is lost in astonishment and delight at the marvellous
+fidelity with which the sculptor has rendered these links in the great
+chain of animal life. Their (as we call it) savage eagerness, their
+almost blind rage for their appointed food, the tenacity with which
+they clutch and the ravening _anxiety_ (caused by the dread of losing
+their prey) with which they tear the flesh of their victims, is
+portrayed to the life. We speak of a death-grip, but here is a death
+and life grip--death to the victim whose palpitating body furnishes
+life to its destroyer. It is the hot-cold-bloodedness of nature, the
+disregard for suffering of the tornado, the earthquake and the
+avalanche shown in little in the fangs and claws of these wild
+creatures. Then there are the battles of the more evenly-matched
+animals--not always as a result of the need of sustenance--such are
+the tiger transfixed by the elephant; the python's folds crushing the
+crocodile; and the bear dragging the bull to earth, or itself, in
+turn, overthrown by mastiffs. Then comes those groups into which man
+enters--the African horseman surprised by a great serpent whose
+formidable folds already enclose his struggling body; the Arabs
+killing a lion; and the "Theseus overcoming the Minotaur," wherein the
+calmly irresistible hero is about to bury his keen, short sword in the
+bull-neck of the gross monster. The success with which Barye has
+combined the human and bestial characteristics of the minotaur is most
+remarkable and a similar triumph is won in the hippogriff--the winged
+horse, with forefeet of claws and beaked nose, which leaps so swiftly
+over the coiled-shape of the dolphin-serpent, which serves for his
+pedestal--bearing upon his back the charming, nude figure of Angelica
+held in the mail-clad arms of Ariosto's hero. To this category _seems_
+to belong the "Ape riding a Gnu," the forms, however, being true to
+nature though appearing fantastic when placed in juxtaposition.
+
+The horse as we know him, and carrying more familiar burdens, is shown
+in numerous equestrian statuettes, the best of which is the slender,
+nervous figure of Bonaparte as First Consul, mounted on a
+proudly-stepping Arab. There is another one of Napoleon, showing him
+at a later period of his life, and the other equestrian portraits
+include one of the Duke of Orleans, who looks every inch a gentleman;
+one of Gaston de Foix, the hero of Ravenna; and one of Charles VII.
+Then there is a spirited statuette of a Tartar warrior in chain armor
+sharply pulling back his steed, and a graceful figure of a lady
+wearing the riding-dress of 1830. A painful contrast is presented by
+the doomed horse unwillingly carrying a lion whose dreadful grip his
+frantic rearing cannot loosen. In addition there are many studies of
+horses, various in breed and attitude, and the small wax model of a
+young man mastering a horse which though but a rough "first sketch"
+has all the "go and fire" possible. It would have been of interest if
+some illustration of Barye's equestrian monument of Napoleon at
+Ajaccio could have been shown, and this reminds me that except a
+photograph of the Château d'Eau at Marseilles, showing the four groups
+of animals designed by him (which Mr. Cyrus J. Lawrence was thoughtful
+enough to send), and the two reclining river-gods from the Louvre
+(sent by Mr. Walters), there is nothing which gives any idea of
+Barye's public work. Not even photographs of the War, Order, Glory and
+Peace groups of the Louvre, which could have easily been taken from
+the copies given by Mr. Walters to Baltimore, now on Mount Vernon
+Place, are present. But, in face of the admirable collection here
+gathered together, this may savor of ingratitude, and I will return to
+the consideration of the remaining sculptures.
+
+Among them are some masterly pieces of decoration, the most important
+being the superb candelabra made for the Duc de Montpensier. These
+have seated at their base nude figures of the three chief goddesses of
+classic mythology, whose noble proportions and purity of outline prove
+the versatility and completeness of the sculptor's art. Juno is
+accompanied by her peacock and bears the rod of power; Minerva lifts a
+sword, and Venus holds the golden apple. The candelabra are further
+enriched with masks and chimeras, and bear at their top a charming
+circular group of the three graces, small undraped figures, with arms
+entwined and faces turned toward each other. The general design and
+exquisite detail of this work is worthy of the Renaissance. There are
+some more candlesticks and other works of decorative art, all of which
+bear the marks of a master-hand.
+
+The humorous side of things is presented by some of the groups: in the
+ungainly figure of the elephant of Senegal running; in the bear lying
+on his back in a trough and eating with great gusto some sweet morsel
+which he holds between his paws; and in the meditative stork standing
+on the back of a turtle. Some of the animals are shown as sleeping or
+reclining, and there is a cat sitting, a goat feeding, a deer
+scratching its side and a pheasant walking, among others, but the
+tragic note is struck in most of them. Probably the best works are to
+be found among those pieces representing members of the feline race,
+which were always the subject of Barye's most thorough study. The
+sculptures of horses are also very numerous, and it strikes one at
+first as curious that, after all the rebuffs he received from the
+academic faction, who recognized no animals but the horse and lion as
+worthy of representation in sculpture, he should have modelled so many
+of these very creatures. But, after all, Barye's lions and horses
+belong to an entirely different race from those which the
+tradition-bound old fogies were pleased with. The collection embraces
+many admirable bronzes of birds: an eagle holding a dead heron; an owl
+with a rat; a paroquet on a tree, and a strikingly fine composition of
+a hawk killing a heron; and there are some beautiful studies of dogs,
+especially a large seated greyhound, belonging to Mr. Walters. There
+are rabbits, badgers, wolves and camels, but I remember no cows or
+pigs, and only one group of sheep. Wild life, much more than domestic,
+touched the sympathies of Barye.
+
+Mr. Walters loans twenty-three of Barye's powerful water-colors of
+animals and a fine oil, of unusual size for this artist, of a tiger.
+One of the most striking of the water-colors shows a great snake
+swallowing an antelope, whose head is partly engulfed, and it is
+almost exactly the same as one of the bronzes from the Walters
+collection. Other gentlemen have contributed water-colors and
+oil-paintings by Barye, among them being several landscapes at
+Fontainebleau, and there are various etchings and prints after his
+works and some of his lithographs, pencil-sketches and autographs,
+with a copy of the only etching--a stag fighting a cougar--which,
+according to so good an authority as Mr. Avery, he ever made. These
+remarkable water-colors alone would suffice to show the genius of
+Barye, for they are full of the same qualities of truth and
+originality of expression which we see in his bronzes. Their color is
+exceedingly fine, and their topics are generally tigers, lions,
+elephants and serpents. It is a source of wonder how Barye, who never
+visited the East, could have so well depicted the tropical landscapes
+in which he has placed these tawny tigers and majestic lions. The
+drawings, like the sculptures, impress us with their air of absolute
+veracity, and, even in their most dramatic moments, suggest a
+reticence behind. Barye does not exhaust himself or his subject, yet
+he seems to have said the last word in this direction of art, and I
+cannot imagine that his profound and searching genius will ever be
+surpassed.
+
+The managers of the galleries announce the exhibition of a hundred
+"masterpieces" by the contemporaries and friends of Barye, but I do
+not think that the visitor will find so large a number which can
+rightly be thus classed. To me it appears that something less than
+one-half are works of the first order, but among the remainder are
+many good things worthy of attention. Here again the treasures of Mr.
+Walters's collection are drawn upon and he sends some twenty-five
+pictures, prominent among which is the great "Martyrdom of St.
+Sebastian," by Corot; the "Evening Star," by the same master; Troyon's
+"Cattle Drinking"; Diaz's "Storm" and "Autumn Scene in the Forest of
+Fontainebleau"; Rousseau's "Le Givre"; Decamps's "Suicide"; Daubigny's
+large "Sunset on the Coast of France"; Delacroix's "Christ on the
+Cross"; and Millet's "Breaking Flax." One of the finest Millets I have
+ever seen is here, lent by Mr. Walters. This is the "Sheepfold at
+Night," which with several others of Mr. Walters's paintings here
+shown, was in the exhibition of "One Hundred Masterpieces" held at
+Paris in 1883. In its foreground a line of sheep pass by toward the
+gate of the fold through which some have already entered under the
+guidance of the shepherd and his dog, who stand near. The horizon is
+low, and just above it swings a swollen moon, shaped like a cup, from
+which floods of pale light fill the scene with color. If this were Mr.
+Walters's only contribution it would be sufficient to place us under a
+heavy obligation to him. The "St. Sebastian" is a large canvas,
+measuring four feet wide by eight feet high, which was first shown at
+the _Salon_ of 1853, and afterwards twice received important changes
+at the artist's hands. It shows an opening in a great wood, with the
+saint reclining on the ground tended by two holy women, while above
+appear some angels who bear the martyr's palm and crown. Rousseau's
+"Le Givre" is well described by Sensier, who says in his "_Souvenirs
+sur Th. Rousseau_," it represents "the hills of Valmondois as seen a
+mile away across the Oise, along the des Forgets road. The composition
+could not be more simple. Little hillocks heaped in the foreground are
+covered with half-melted snow, and the sun, red in the midst of a
+leaden sky, is seen dying and threatening through the clouds." The
+"Suicide," of Decamps, shows the body of a young artist stretched
+lifeless on his pallet in a gloomy room, and is painted with
+extraordinary force. The "Sunset," by Daubigny, describes a scene on
+the French coast with some cows near a pool separated from the sea
+only by a few yards. The foreground is rich in sombre greens and
+browns, the ocean a glorious blue and the sky tinged with the roses of
+sunset.
+
+A superb specimen of the lately dead veteran, Jules Dupré, "The Old
+Oak," is lent by Mr. John G. Johnson, who contributes several other
+pictures, among them a fine "Going to the Fair," by Troyon, in which
+is seen a drove of cattle and sheep, with a woman on horseback behind
+talking to a man. Another still finer Troyon, the "Drove of Cattle and
+Sheep," which brought $26,000 at the Spencer sale, is lent by Mr.
+Cornelius Vanderbilt. It will be recalled as showing a flock of sheep
+coming along a road toward the spectator, while behind are two cows,
+one with head uplifted to avoid the threatening stick of the drover--a
+dumb but eloquent protest against man's cruelty. Corot's lovely "Lake
+Nemi," the property of Mr. Thomas Newcombe, is here, while Mr. Jay
+Gould sends his "Evening"; Mr. William F. Slater, of Norwich, Conn.,
+the "Fauns and Nymphs," and Mr. Charles A. Dana his beautiful "Dance
+of Loves." To the same gentleman the public is indebted for an
+opportunity to admire Millet's admirable "Turkey-keeper." Mr. D. C.
+Lyall has Delacroix's splendid page of romance, "The Abduction of
+Rebecca," and among the numerous paintings which come from Mr. George
+I. Seney's gallery, is the same artist's well-known "Convulsionaries,"
+a crowd of self-tortured fanatics wildly rushing through the
+white-walled streets of Tangiers. There are several other works by
+Delacroix, including examples of his vivid renditions of lions and
+tigers, and Mr. Slater has here his "Christopher Columbus," Mr. Potter
+Palmer, of Chicago, lending the "Giaour and Pacha." Gericault is
+represented by but one picture, a noble couchant lion, but in addition
+to the "Suicide," there are several other Decamps, notably the
+magnificently colored "Turkish Butcher's Shop," which, with a
+splendid Rousseau, the "Forest of Fontainebleau," comes from the
+collection of Mr. Henry Graves. The gorgeous blues and crimsons of
+Diaz's "Coronation of Love," which Mr. Brayton Ives is fortunate
+enough to own, glow in a corner of one of the galleries--a bouquet of
+living color. It was pleasant to meet again a familiar picture in
+Millet's "Waiting," which the writer recalls often seeing at the
+Boston Art Museum when it belonged to Mr. Henry Sayles. It is now the
+property of Mr. Seney, and will be at once remembered by any who have
+ever seen its homely but touching figures of the old mother looking
+down the road for the coming of her absent son, and the blind father
+stumbling hastily over the steps to the door. I renewed my
+acquaintance with the inimitable cat which arches its back, elevates
+its tail and miaows on the bench outside, its ginger-colored coat
+relieved against the cool blue-grays of the stone wall. It is the
+apocryphal story of Tobit and Anna, with the waiting parents made into
+peasants of Millet's own country, and when it was exhibited at the
+_Salon_ of 1861, the public, of course, passed it by to gaze at the
+"Phryne" of Gérôme. Millet has doubtless painted better pictures, but
+for direct simple pathos it would be hard to surpass this.
+
+Boston, through Mr. Quincy Shaw and other gentlemen, sends to the
+exhibition some of the best paintings shown. Mr. Shaw exhibits his
+"Potato-planters," to me the most beautiful in its rosy tones of any
+example of the artist here; of the same size, a fine "End of the
+Village of Greville," walled with graystone, its little street
+monopolized by geese and ducks, and the sea-gulls flying above; and
+the "Buckwheat Threshers," with two smaller canvases. Mr. F. L. Ames,
+lends two Millets, a beautiful Rousseau, "The Valley of Tiffauge,"
+Decamps's splendid picture of an African about to sling a stone at a
+vulture sitting on some ruins, and the superbly painted dogs of
+Troyon's "Gardechasse." Dr. H. C. Angell's fine Jules Dupré,
+"Symphony," is also here.
+
+The Millets number about a third of the paintings and among them is an
+interesting variation of the "Sower," narrower in shape than the
+others and with a steeper hillside. It would have been a delight to
+have seen Mr. Shaw's "Sower" temporarily lifted from its place in the
+modest house which conceals so many treasures, and brought here,
+especially as it was not possible to borrow the replica belonging to
+the estate of the late W. H. Vanderbilt, but such good fortune was not
+in store for us. A beautiful little nude by Millet, "After the Bath,"
+has been sent by Mr. A. C. Clark. I think it must be the same one
+which was at the Bartholdi Pedestal Fund Exhibition some years ago,
+when it belonged to Mr. Erwin Davis. Messrs. Boussod, Valadon & Co.,
+have lent an important and beautiful "November" by Millet, showing a
+sloping field with a harrow lying on the foreground and a man shooting
+at a flock of birds from behind a tree at the top of the hill.
+
+The "Angelus," draped with crimson, is given the entire end of the
+long upper gallery and, I think, proves a disappointment to most, if
+not all. One chief reason for this is its small size,--it is but about
+21 x 25 inches--and then it is certainly not to be compared for
+painting with half a dozen other Millets which are here. Its sentiment
+is lasting, however, but it is not new to us, on the contrary it is a
+household word now, and the painting gives but little more than does
+Waltner's etching. Mr. Walters loans the crayon sketch for it and one
+of "The Sower" and the "Sheepfold by Moonlight," with others, and
+there are some very interesting pastels and water-colors by Millet,
+Rousseau and Delacroix.
+
+Altogether the exhibition is an extraordinarily good one, unapproached
+as to the Baryes and not easily surpassable as to the paintings of the
+Fontainebleau school, and any lover of art would find himself amply
+repaid by it for a journey to New York.
+
+
+
+
+[Illustration: THE ILLUSTRATIONS]
+
+[_Contributors are requested to send with their drawings full and
+adequate descriptions of the buildings, including a statement of
+cost._]
+
+
+"THE LION AND THE SERPENT." M. A. L. BARYE, SCULPTOR.
+
+[Photogravure issued only with the International Edition.]
+
+See article elsewhere in this issue.
+
+
+AUDITORIUM OF THE PALACE OF THE TROCADERO, PARIS, FRANCE. MM. DAVIOUD
+& BORDAIS, ARCHITECTS.
+
+[Gelatine Plate issued only with the International Edition.]
+
+
+AN INTERIOR IN THE CHATEAU DE JOSSELIN, MORBIHAN, FRANCE.
+
+[Gelatine Plate issued only with the International Edition.]
+
+
+TORRE DEL VINO, ALHAMBRA, GRANADA, SPAIN.
+
+[Grano-chrome issued only with the International Edition.]
+
+
+RUINS OF THE CHAPEL OF CHARLES V, YUSTE, SPAIN.
+
+[Grano-chrome issued only with the International Edition.]
+
+
+COOMBE WARREN, KINGSTON, ENGLAND.--GARDEN FRONT. THE LATE MR. GEORGE
+DEVEY, ARCHITECT.
+
+[Issued only with the International Edition.]
+
+
+COOMBE WARREN, KINGSTON, ENGLAND.--ENTRANCE FRONT. THE LATE MR. GEORGE
+DEVEY, ARCHITECT.
+
+[Issued only with the International Edition.]
+
+
+A GENTLEMAN'S COUNTRY HOUSE. MR. HORACE R. APPELBEE, ARCHITECT.
+
+[Issued only with the International Edition.]
+
+This design is founded upon the Francis I style of architecture,
+though it by no means slavishly follows it. It was required to obtain
+a house suited in all respects to modern requirements, including such
+things as sash-windows, and in places plate-glass. These hardly
+harmonize with the ordinary character of English country-houses of the
+Elizabethan and Queen Anne types, with their many mullioned windows
+and lead-glazed casements, nor is the other extreme of heavy Classic
+with ponderous detail and a portico two stories high at all desirable.
+The style of Francis I offers a mean between these, giving emphasis to
+the principal block by a certain amount of symmetrical planning,
+together with picturesqueness, with rich and refined detail, which a
+gentleman's country-house certainly requires. The exterior would be of
+long and thin red bricks, with stone cornices and other dressings, and
+roofed with green slates. The interior has oak-work and enriched
+plaster ceilings to the principal rooms, with the exception of the
+hall, where the ceiling would be of oak. The hall and the staircase
+would have some stained-glass in the windows. The original drawing was
+exhibited in this year's Academy.
+
+
+WROUGHT-IRON GATES, DUKE STREET, CHELMSFORD, ENGLAND.
+
+[Issued only with the International Edition.]
+
+
+HISTORICAL FIGURES FROM LORD MAYOR'S PROCESSION, 1889. DESIGNED BY MR.
+JOHN JELLICOE.
+
+[Issued only with the International Edition.]
+
+These figure sketches embrace five typical examples from the late Lord
+Mayor's show, in which Mediæval, Tudor and Stuart costumes were
+(thanks to the research and artistic knowledge of Hon. Lewis
+Wingfield) so pleasantly associated. We have selected five, both on
+account of their diversity and also because of their being
+representative costumes of different eras in English history. The
+dresses, for magnificence and accuracy of detail, have rarely been
+equalled.
+
+
+HOUSE OF MRS. CHARLES BLAKE, BEACON ST., BOSTON, MASS. MESSRS. STURGIS
+& CABOT, ARCHITECTS, BOSTON, MASS.
+
+[Issued only with the Imperial and International Editions.]
+
+
+COMPETITIVE DESIGN FOR THE CATHEDRAL OF ST. JOHN THE DIVINE, NEW YORK,
+N.Y. MR. GLENN BROWN, ARCHITECT, WASHINGTON, D.C.
+
+Although the selection of material is a matter that can be well
+dispensed with until the general design has been determined, the
+architect suggests as in harmony with the treatment, Westerly, R.I.
+granite for the body of the cathedral, with trimmings of carved
+capitals, bases, columns, belts, arches and other ornamental stonework
+of a Georgia marble. The granite is cream color, with a suspicion of
+red, and the marble is of the same shade but a trifle darker and more
+positive. Both from chemical and physical tests they are apparently of
+equal strength and durability. The colors suggested would not give the
+building the cold appearance of white marble, or the somewhat sombre
+appearance produced by gray granite.
+
+The stones are to be laid in square blocks, regular courses and
+rock-face in the body of the building, with square and sharp corners.
+The columns, lintels, sills, belts, finials and mouldings are to be
+close hammered work, with carving where indicated on the drawings.
+
+The different tower roofs are to be fine-hammered or rubbed granite.
+The distinction between the tower roofs and the body of the building
+is not brought out clearly in the different drawings, as this would
+require shading all the granite stonework except the tower roofs, and
+shading is prohibited by the instructions.
+
+The interior of the church is designed to be finished in marbles of
+harmonious colors, with carved and other decorated work, as shown in
+the section. The surface of the floor is to be laid in mosaic tile,
+the presumption being that fixed pews will not be used in the
+cathedral. Ample storage can be obtained for portable seats in the
+cellar.
+
+The floors are laid on terra-cotta arches, built on iron beams, and
+the beams are protected by terra-cotta casings.
+
+The roof of the building is to be covered with slate [preferably red],
+laid on terra-cotta and supported by iron trusses and beams; the
+iron-work to be protected by a fireproof covering. The tower roofs
+contemplate granite, lapped and jointed so as to be weatherproof, laid
+on iron beams and supported by iron trusses. If a cheaper covering is
+desired, slate or tile can be used without affecting the design.
+
+The ceiling is a barrel-vault with large and small arched ribs
+pierced in each bay by the small vaults in which the clerestory
+windows open. It may be treated in one of three ways: first, finished
+in marble; second, marble ribs, the larger surfaces being terra-cotta
+blocks covered with mosaic tile; third, the larger surfaces frescoed
+on plaster. The ceiling of the lantern in the centre of the cathedral
+will be supported by arch trusses, and show metallic ribs on the
+interior, glazed with cathedral glass.
+
+The screens between the choir and aisles and between the aisle and
+vestries and chapels are intended to be of wrought-iron, bronze or
+brass, or a combination. They should be arranged so as to slide down
+into the cellar and leave the entire building open and unobstructed
+whenever it might be thought desirable.
+
+The outside doors are to be bronze, with figures on them in low
+relief.
+
+The size of columns and piers, and the weights imposed upon them, the
+thrusts of arches and trusses, their proper abutments and ties and
+other constructional problems have been calculated with a sufficient
+degree of accuracy to determine the feasibility of the execution of
+the design according to the drawings.
+
+In the lantern where the frescoing is contemplated the wall will be
+faced with porous brick, on which the proper fresco plaster can be
+spread.
+
+The plan is arranged to facilitate the ingress and egress of large
+assemblages of people, five doorways being provided in the nave
+entrance and two in each of the transepts. The galleries over the nave
+and transept vestibules and the triforium have stairways with
+entrances on the side porches. Including the clergy entrances, fifteen
+outside doors are planned. The vestibules and porches connect with
+each other so that worshippers can pass from one to the other under
+cover.
+
+The arrangement adopted for the central tower allows a central
+auditorium about one hundred feet in diameter, unobstructed by columns
+or piers, with the nave transepts and choir opening into it. The
+aisles are not decreased by this central enlargement, as they deflect
+through the four abutting towers.
+
+The different vestry-rooms, library or sacristy and the treasury are
+grouped conveniently to the choir, with separate entrances for the
+church officials. The meeting-room for the clergy or chapter and the
+chapel have entrances independent of the church, or by lowering the
+screen they can be thrown open into the cathedral. Toilet-rooms,
+custodian's and a committee-room are located on the transept
+vestibules, as these entrances would most probably be constantly open.
+
+Elevators are placed in two of the supplemental towers, and stairways
+in the ones adjoining the choir, landing visitors on the triforium
+gallery, which encircles the building, and in the two galleries which
+encircle the central lantern. From the lantern galleries visitors can
+obtain fine interior views of the building, and comprehend the crucial
+form of the plan at a glance.
+
+TABULATIONS OF APPROXIMATE DIMENSIONS.
+
+                          Length.    Breadth.    Height.   Square feet.
+Ground-floor including
+  walls height to the
+  ridge of roof             400     156 to 230     148        69,000
+
+Lantern or central tower
+  exterior                  106         106        400        11,236
+
+Nave interior               125          50        100         6,250
+
+Transepts interior           30          50        100         3,000 for
+                                                                the two
+
+Choir interior               95          50        100         4,750
+
+Central tower interior       88          88        200
+
+Aisles interior                          16         40
+
+Chapel and Chapter           52          26
+
+Square feet of auditorium exclusive of aisles, columns
+  and space between columns, triforium and galleries          20,486
+
+Auditorium including everything except choir                  48,106
+
+
+ABBEY OF ABERBROTHWICK: GALLERY OVER ENTRANCE.
+
+ABBEY OF ABERBROTHWICK: THE WESTERN DOORWAY.
+
+The traveller by sea, along the east coast of Scotland, is liable to
+be reminded with startling emphasis of the demolition to which the
+ecclesiastical architecture of the country has been subjected. Leaving
+behind him on his northward course the fragments of the metropolitan
+Cathedral of St. Andrews, he crosses a wide arm of the sea, and when
+he again approaches the shore, the objects most prominent against the
+sky are the still more disastrously shattered remnants of the great
+Abbey of Aberbrothwick. One lofty fragment presents in its centre a
+circle, doubtless once filled with richly moulded mullions and
+stained-glass, but through which the blue sky is now visible. This
+vacant circle is the only symmetrical form in these lofty masses that
+at a distance strikes the eye--all else is shapeless and fragmentary.
+Around these huge unsightly vestiges of ancient magnificence the types
+of modern comfort and commercial wealth cluster thickly, in the shape
+of a small but busy manufacturing town, with its mills, tall chimneys
+and rows of substantial houses.
+
+The ruins, which are interesting only in their details, scarcely
+present a more inviting general aspect as they are approached. Nearing
+them from the High Street of the burgh, the first prominent object is
+a grim, strong, square tower, the sole remaining complete edifice of
+the great establishment, now used as a butcher's shop. It was not
+perhaps without design that this formidable building was so placed as
+to frown over the dwellings of the industrious burghers--it was the
+prison of the regality of the abbey--the place of punishment or
+detention through which a judicial power, scarcely inferior to that of
+the royal courts, was enforced by this potent brotherhood; and thus it
+served to remind the world without, that the coercive power of the
+abbot and his chapter was scarcely inferior to their spiritual dignity
+and their temporal magnificence. Passing onward, the whole scene is
+found to be a chaos of ruin. Fragments of the church, with those of
+the cloisters and other monastic edifices, rise in apparently
+inseparable confusion from the grassy ground; but, with a little
+observation, the cruciform outline of the church can be traced, and
+then its disjointed masses reduce themselves into connected details.
+The dark-red stone of which the building was constructed is friable,
+and peculiarly apt to crumble under the moist atmosphere and dreary
+winds of the northeast coast. The mouldings and tracery are thus
+wofully obliterated, and the facings are so much decayed as to leave
+the original surface distinguishable only here and there. At
+comparatively late periods large masses of the ruins have fallen down;
+and Pennant mentions such an event as having taken place just before
+he visited the spot. This palpable progress towards the complete
+extinction of the relics of one of the finest Gothic buildings in
+Scotland, certainly rendered it not only justifiable but highly
+praiseworthy that the Exchequer should make some effort for preserving
+so much of the pile as was preservable. Restoration was not to be
+expected--the preservation of the existing fragments was all that
+could be reasonably looked for. It must be confessed, however, that
+the operations, by means of which this service was accomplished, have
+given no picturesque aid to the mass of ruins, but have rather
+introduced a new element of discordance and confusion, in the contrast
+between the cold, flat, new surfaces of masonry and the rugged,
+weatherbeaten ruins in which they are embodied.
+
+There are few buildings in which the Norman and the early English are
+so closely blended, and the transition so gentle. The great western
+door has the Norman arch, with an approach to the later types in some
+of its rather peculiar mouldings, while the broad and equally peculiar
+gallery above it--the only interior portion of the church remaining in
+a state of preservation--shows the pointed arch, with all the
+simplicity of the Norman pillar and capital. All the material
+fragments of the church now remaining are represented in the four
+accompanying plates, from which as full an idea of the shape and
+character of the remains may be derived as the visitor could acquire
+on the spot. It will be seen that over the gallery, at the western end
+of the nave, there widens the lower arc of a circular window, which
+must have been of great size. The only portions of the aisle windows
+still existing are on the south side of the nave. None of the central
+pillars remain, but their bases have been carefully laid bare: and it
+is supposed, from the greater size of those at the meeting of the
+cross, that here there had been a great central tower.
+
+Among the tombs of more modern date, in the grave-yard near the
+church, there are many which bear sculptural marks of a very remote
+antiquity; and among the ornaments they present, the primitive form of
+the cross is conspicuous. During the operations for cleaning out the
+ruins, which were conducted under the authority of the Exchequer in
+1815,[3] some pieces of monumental sculpture were discovered, two of
+which are curious and remarkable. The one is the mutilated figure of a
+dignified churchman--probably an abbot. The head, the hands--which
+appear to have been clasped--and the feet, are broken off and lost;
+but the fragment thus truncated has much appearance of grace in the
+folds of the drapery and the disposition of the limbs, while a series
+of rich ceremonial ornaments appear to have been brought out with
+great force and minuteness. The other figure, still more mutilated, is
+simpler in the ordinary details, but has attached to it some adjuncts
+which have perplexed the learned. The feet appear to have rested on
+the effigy of a beast, the remains of which indicate it to have
+represented a lion. It has, from this circumstance, been inferred that
+the statue was that of William the Lion, the founder of the abbey. The
+figure has, however, been attired in flowing robes, and a purse hangs
+from the girdle. But the portions of this fragment which chiefly
+contributed to rouse curiosity, are some incrustations, which had at
+first the appearance of the effigies of lizards crawling along the
+main figure. It was supposed that these reptiles were intended to
+embody the idea of malevolent spirits, and that the piece of sculpture
+might have been designed to represent a myth, probably in reference to
+the machinations of the infernal world. But, upon a closer inspection,
+it was found that these tiny figures represented pigmy knights in
+armor, scrambling, as it were, up the massive figure. One appears to
+be struggling with the drapery below; another has reached the waist;
+and the fracture, which is across the shoulder, leaves dangling the
+mailed heels of two others, which must have reached the neck. Is it
+possible that there can be here any reference to the slaughter of
+Becket, to whom the abbey was dedicated?
+
+FOOTNOTE:
+
+[3] New Stat. Account, Forfar, p. 80.
+
+
+HISTORICAL SKETCH.
+
+The historical circumstances connected with the foundation of this
+monastic institution are remarkable. It was founded and endowed by
+William the Lion, King of Scots, in the year 1178, and dedicated to
+St. Thomas à Becket, the martyr of the principle of ecclesiastical
+supremacy, whose slaughter at the high altar of Canterbury Cathedral
+occurred in 1170, and who was canonized in 1173. This great
+establishment, richly endowed, was thus a magnificent piece of homage
+by the Scottish King to a principle which, especially under the bold
+and uncompromising guidance of its great advocate, had solely
+perplexed and baffled his royal neighbor on the English throne, and
+boded future trouble and humiliation to all thrones and temporal
+dignities. Much antiquarian speculation has been exerted, but without
+very obvious success, to fathom the motives for this act of
+munificence. William had invaded those parts of the north of England
+which were previously held in a species of feudality by the Kings of
+Scotland, and was disgracefully defeated at Alnwick, and committed to
+captivity, just at the time when the English monarch, whose forces
+accomplished the victory and capture, was enduring his humiliating
+penance at the tomb of the canonized archbishop. Lord Hailes, who says
+that "William was personally acquainted with Becket, when there was
+little probability of his ever becoming a confessor, martyr and
+saint," endeavoring to discover a motive for the munificence of the
+Scottish King, continues to say: "Perhaps it was meant as a public
+declaration that he did not ascribe his disaster at Alnwick to the
+ill-will of his old friend. He may, perhaps, have been hurried by the
+torrent of popular prejudices into the belief that his disaster
+proceeded from the partiality of Becket towards the penitent Henry;
+and he might imagine that if equal honors were done in Scotland to the
+new saint as in England he might, on future occasions, observe a
+neutrality."[4] It is remarkable that several of the early chroniclers
+allude to this friendship between the Scottish monarch, who was a
+resolute champion of temporal authority, and the representative of
+ecclesiastical supremacy....
+
+Princes may be induced, by personal circumstances, to change their
+views, and in the times when they were not controlled by responsible
+ministers, they gave effect to their alterations of opinion. It is
+quite possible that at the time when he founded the Abbey, William was
+partial to Church ascendency, for his celebrated contest with the
+ecclesiastical power arose out of subsequent events. This King's
+disputes with the Church have a somewhat complex shape. The clergy of
+his own dominions had a spiritual war against the English hierarchy,
+who asserted a claim to exercise metropolitan authority over them; and
+it might have been supposed that William, if he sought to humble his
+own clergy, would have found it politic to favor the pretensions of
+those of England. But the interests of the two clerical bodies became
+in the end united. Thus the war which had so long raged in England,
+passed towards the north, with this difference, that the King of Scots
+had to encounter not only his own native hierarchy, but the victorious
+Church of England, just elated by its triumph over Henry. The Chapter
+of St. Andrews had elected a person to be their bishop, not acceptable
+to William, who desired to give the chair to his own chaplain. The
+King seized the temporalities, and prevailed on the other bishops to
+countenance his favorite. The bishop-elect appealed to Rome. Pope
+Alexander III issued legatine powers over Scotland to the Archbishop
+of York, who, along with the Bishop of Durham, after an ineffectual
+war of minor threats and inflictions, excommunicated the King, and
+laid the kingdom under interdict. At this point Alexander III died,
+and the new pope thought it wise to make concessions to an
+uncompromising adversary in a rude and distant land, who had shown
+himself possessed of an extent of temporal power sufficient to
+counteract the power of Rome, even among the ecclesiastics themselves.
+
+It was before this great feud commenced that the Abbey was founded;
+but during its continuance the institution received, from whatever
+motives, many tokens of royal favor, as well as precious gifts from
+the great barons. Among the list of benefactors we find many of those
+old Norman names, which cease to be associated with Scottish history
+after the War of Independence. It is a still more striking instance of
+the community of interest between the two kingdoms anterior to this
+war, that while we find a Scottish king devoting a great monastic
+establishment to the memory of an English prelate, we should find an
+English king conferring special privileges and immunities within his
+realm on the Scottish brotherhood....
+
+The Abbey was founded for Tyronesian monks, and the parent stock
+whence it received its first inmates was the old Abbey of Kelso. In
+the year of the foundation, Reginald, elected "Abbot of the Church of
+St. Thomas," was, with his convent, released of all subjection and
+obedience to the abbot and convent of Kelso. The church was completed
+and consecrated under the abbacy of Ralph de Lamley, in 1233.
+Aberbrothwick was one of those ecclesiastical institutions immediately
+connected with the spread of the Roman hierarchy, which gradually
+sucked up the curious pristine establishment of the Culdees; and the
+muniments of the Abbey thus afford some traces of the character and
+history of this religious body, at least towards the period of their
+extinction. Thus, while the Church of Abernethy, an ancient seat of
+the Culdees, is granted by King William to his new foundation, Orme of
+Abernethy, who is also styled Abbot of Abernethy, grants the half of
+the tithes of the property of himself and his heirs, the other half of
+which belongs to the Culdees of Abernethy, while some disposals of a
+strictly ecclesiastical character are made by the same document. Thus
+we find an abbot who makes disposal for his heirs--a counterpart to
+those references to the legitimate progeny of churchmen, which
+frequently puzzle the antiquary in his researches through early
+Scottish ecclesiastical history.
+
+The Abbot of Aberbrothwick possessed a peculiar privilege, the origin
+of which is in some measure associated with the Culdees--the custody
+of the Brecbennach, or consecrated banner of St. Columba. The lands of
+Forglen, the church of which was dedicated to Adomnan the biographer
+of Columba, were gifted for the maintenance of the banner. The
+privilege was conferred on the Abbey by King William, but as it
+inferred the warlike service of following the banner to the King's
+host, the actual custody was held by laymen, the Abbey enjoying the
+pecuniary advantages attached to the privilege, as religious houses
+drew the temporalities of churches served by vicars.
+
+It will readily be believed that this, one of the richest and most
+magnificent monastic institutions in Scotland, numbered many eminent
+men among its abbots, who from time to time connect it with the early
+history of Scotland. It is even associated with a literature that has
+survived to the present day, in having been presided over by Gavin
+Douglas, the translator of Virgil. The two Beatons, Cardinal David and
+Archbishop James, also successively its abbots, give it a more
+ambiguous reputation. At the Reformation, the wealth of the Abbey was
+converted into a temporal lordship, in favor of Lord Claude Hamilton,
+third son of the Duke of Chatelherault, and the greater part of the
+temporalities came, in the seventeenth century, into the hands of the
+Panmure family.
+
+In a tradition immortalized by a fine ballad of Southey's, it is said
+that the abbots of Aberbrothwick, in their munificent humanity
+preserved a beacon on that dangerous reef of rock in the German Ocean,
+which is supposed to have received its name of the "Bell Rock" from
+the peculiar character of the warning machinery of which the abbot
+made use:
+
+    "The Abbot of Aberbrothwick
+    Had placed that bell on the Inchcape rock,
+    On a buoy in the storm it floated and swung,
+    And over the waves its warning rung.
+
+    "When the rock was hid by the surge's swell,
+    The mariners heard the warning bell;
+    And then they knew the perilous rock,
+    And bless'd the Abbot of Aberbrothwick."
+
+The tradition represents a rover, in the recklessness of prosperity
+and sunshine, cutting the bell-rope, and afterwards returning in foul
+weather to be shipwrecked on the rock from which he had impiously
+removed the warning beacon. No evidence of the existence of the bell
+is found in the records of the Abbey; and on the subject of its wanton
+removal, the sagacious engineer of the Northern Lights say, "It in no
+measure accords with the respect and veneration entertained by seamen
+of all classes for landmarks; more especially as there seems to be no
+difficulty in accounting for the disappearance of such an apparatus,
+unprotected, as it must have been, from the raging element of the
+sea."[5]
+
+FOOTNOTES:
+
+[4] Annals, 1178.
+
+[5] Stevenson on the Bell Rock Light-house, 69.
+
+
+DESIGN FOR A STORE. MESSRS. WAIT & CUTTER, ARCHITECTS, BOSTON, MASS.
+
+
+
+
+[Illustration: SOCIETIES]
+
+
+BOSTON SOCIETY OF ARCHITECTS.
+
+Recommendations by the Boston Society of Architects, in regard to
+practice in obtaining estimates from contractors:
+
+1. Drawings, when offered for final or competitive estimates, should
+be sufficient in number and character to represent the proposed works
+clearly; should be at a scale of not less than one-eighth of an inch
+to the foot, and be rendered in ink or some permanent process.
+
+2. Proper details should be furnished for work that is not otherwise
+sufficiently described for estimate.
+
+3. Specifications should be in ink. They should be definite where not
+sufficiently defined and explained by drawings, and every distinctive
+class of work to be included in contract should be mentioned and
+placed under its appropriate heading.
+
+4. Contractors should be notified, at time of estimate, if they are to
+be restricted in the employment of their subcontractors.
+
+5. Sub-bids received by architects should be held as confidential
+communications until all the estimates in a given class of work have
+been submitted.
+
+The principal contractor should add to his bids all these subestimates
+while in the architect's office, and should sign a tender in which the
+names of these above-mentioned subcontractors should be enumerated.
+
+6. A subcontractor should not (without his free consent) be placed
+under a general contractor, and no general contractor should be
+compelled to accept (without his free consent) the estimate of any
+subcontractor.
+
+7. Should a contractor decline to assume in his contract the estimate
+for any work not included in his original estimate, he should not
+thereby be denied the contract upon the portions of the work covered
+by his original estimate.
+
+8. Estimates should not be binding more than thirty days after
+received.
+
+9. Unless previous notification has been given to the contrary in the
+specification or otherwise, the lowest invited bidder is entitled to
+the contract. If radical changes are made, the whole competition
+should be reopened.
+
+10. After bids have been received, and before the award, bidders
+should not be allowed to amend their estimates.
+
+
+
+
+[Illustration: COMMUNICATIONS]
+
+
+[_The editors cannot pay attention to demands of correspondents who
+forget to give their names and addresses as guaranty of good faith;
+nor do they hold themselves responsible for opinions expressed by
+their correspondents._]
+
+
+BARYE'S ADMIRER.
+
+NEW YORK, N.Y., December 28, 1889.
+
+TO THE EDITORS OF THE AMERICAN ARCHITECT:--
+
+_Dear Sirs,_--I have just seen a letter from "Anglo-American" in your
+issue of December 14, in which he calls for the name of the English
+artist who said concerning the French sculptor, Barye: "Had he been
+born in Great Britain, we would have had a group by Barye in every
+square in London."
+
+Théophile Silvestre reports this remark as if uttered in his presence.
+He says (1856) that the speaker was Mr. Herbert, an artist of
+distinction. Probably this was Arthur J. Herbert. Your correspondent
+takes the remark perhaps too literally, when it merely meant to
+express admiration through a slight exaggeration. Mr. Herbert would
+have been content to see a few squares only decorated with groups by
+an English equivalent of Barye, had one existed.
+
+As to the assertion by "Anglo-American" that Alfred Stevens was "an
+artist not inferior to Barye" it will be shared by few who have
+studied the works of the great French sculptor of animals and men.
+
+"Anglo-American" is right in saying that my short paper in _Harper's
+Weekly_ errs in giving two bronze groups after Barye to Mount Vernon
+Square, Baltimore, instead of four. Were I a resident of that city, I
+could hardly have known this better, and how the error got there
+puzzles me. Certainly had I been permitted to see a proof of that
+paper the mistake would have been corrected, unimportant as it is, so
+far as Barye is concerned. I must compliment your correspondent on the
+quickness of eye that detected the slip and regret that the
+proof-reader of _Harper's Weekly_ did not know his Baltimore to the
+same degree. But he is himself in error when he speaks of the "_Life
+and Works of Antoine Louis Barye_," written by me and published by the
+Barye Monument Association as a catalogue. The catalogue is quite
+another thing from the _édition deluxe_, which is the only edition of
+the "_Life_."
+
+    CHARLES DE KAY.
+
+
+EVAPORATION OF WATER IN TRAPS.
+
+TO THE EDITORS OF THE AMERICAN ARCHITECT:--
+
+_Dear Sirs,_--In a late issue of your journal an advocate of
+Trap-venting, says of ordinary S-traps "If the traps are filled even
+once in two months they will keep their seals intact."
+
+Most persons now agree that S-traps which are back-vented in the
+ordinary manner require refilling by hand as often as once a
+fortnight. It is, therefore, clear that the system of back-venting is
+a very dangerous one. Its original object was to afford security. It
+is now found (and strangely enough, even by its advocates) that it
+totally fails in this respect and that it requires an amount of
+attention which experience and common-sense show us it will never
+receive.
+
+My experiments on the rate of seal-reduction through evaporation
+produced by back-venting were made with the greatest care and show a
+more rapid loss than is generally supposed. If the reports of these
+experiments are studied, it will be seen that every precaution was
+taken to secure trustworthy results. Although my experiments on
+siphonage were made during the same year and on the same system of
+piping with those on evaporation, it will be seen by studying the
+drawings and text of the report that the former in no wise interfered
+with the latter. No experiments on siphonage were made while the water
+stood high in the traps during the tests for evaporation, and no
+disturbance of the water seals was made by this or any other cause
+during the evaporation tests. It would have been exceedingly careless
+and totally unnecessary to allow of any such disturbance. Moreover,
+most of the experiments on evaporation were made, as shown, on a stack
+so connected with the rest of the system of piping that such
+disturbance would have been impossible. Even had we not so carefully
+closed the inlet or house-side of the traps.
+
+I found that a warm flue caused the back-vent pipe to evaporate enough
+of the water from the seal of the trap to break it in less than a
+week, and I am confident that this often happens in practice.
+
+How short-sighted and foolish is it to endeavor to throw discredit on
+these experiments which were made with the greatest care and honesty
+and which were witnessed and subscribed to by impartial experts, and
+to argue that, because other experiments made under different
+conditions showed a somewhat slower rate of evaporation, therefore
+cases could never occur in which the more rapid rate might be
+encountered in practice.
+
+It is likely that the public will very soon awake to a sense of the
+importance of investigating this matter for themselves. Their Boards
+of Health will then find that with a very small outlay they can obtain
+the truth; and that a vast amount of unnecessary complication and
+expense can be saved in plumbing and, at the same time greater
+security be obtained.
+
+When we consider, too, the well-known unreliability of the vent-pipe
+in other ways and the frequency with which it is found totally closed
+by grease, it becomes something more than folly to recommend the
+public to place implicit reliance upon it.
+
+    J. P. PUTNAM.
+
+
+
+
+[Illustration: NOTES AND CLIPPINGS]
+
+
+THE DIVINING-ROD.--Professor Ray Lankester, having recently expressed
+some doubts of the alleged powers of a boy "water-finder." Dr.
+McClure, who is chairman of the company by whom the boy is employed,
+has denied emphatically that the boy, whose name is Rodwell, is an
+impostor. He says that the lad, when tested, never failed to find
+either water or mineral veins, the lodes having always been found
+exactly at the places indicated. The divining-rod which he holds only
+moves in obedience to the muscular contraction of his hands, and a rod
+of any kind of wood, or even of any material substance whatever, can
+be used, provided it be a conductor of electricity. Dr. McClure's
+statements have excited considerable comment in England. The phenomena
+of tests by the divining-rod are not by any means new. They have never
+been described from a scientific point-of-view, nor has any
+philosophical explanation of them ever been advanced, but there is no
+question whatever of their existence, and of their being now regarded
+by the most advanced scientists as beyond the region of chicanery and
+imposture. Mr. W. J. Jenks, in a recent lecture on "The Protection of
+Electric Light Stations from Lightning," treats the subject very
+exhaustively, and shows that where the ability to locate electrical or
+magnetic attraction is vested in an individual the results are
+absolutely reliable. He instances the case of two gentlemen of
+Merrimac, Massachusetts, named Prescott, who for several years have
+given displays of this rare faculty. As an illustration of the
+certainty with which the Prescott brothers could indicate the location
+of electrical attraction, Mr. Jenks gives a well-authenticated
+incident which took place at Amesbury not long ago. Several old
+citizens were sceptical as to the accuracy of the conclusions supposed
+to have been reached, and determined on a severe test. Taking twenty
+or more citizens as witnesses, they requested the Prescott brothers to
+accompany them, and indicating a stretch of highway before them, some
+forty or fifty rods in length, stated that some years previous
+lightning had struck on that road, and wished to be informed as to the
+exact spot. Proceeding several rods, two cross currents were marked
+out; both extending for some distance in the travelled pathway and
+crossed by another at right angles. Testing carefully the roads in
+both directions, this electrical centre was pointed out as the
+greatest danger in the vicinity. The party was then invited to examine
+an ancient volume of official records, where it was chronicled that on
+the 7th of October, 1802, a man who was driving two yoke of cattle was
+struck by lightning in that exact spot and, with all his animals, was
+instantly killed. The occurrence had been deemed at the time so
+remarkable that the circumstance, with a minute description of the
+locality, had been recorded, though long forgotten by all but perhaps
+a few of the oldest citizens.
+
+       *       *       *       *       *
+
+THE DANGERS OF ELECTRICITY.--The rapid spread of electric lighting
+in America has not been accomplished without very considerable loss
+of life. From a list compiled by Mr. Harold P. Brown, of New York,
+we learn that eighty-seven persons have been killed up to the
+commencement of this year. This is a very serious total, and if
+there were any likelihood of the rate being maintained, it would
+supply ample reason for very stringent legislative control being
+exercised over all electric installations. Happily many of the
+accidents may be attributed to the want of knowledge which always
+characterizes a new manufacture, while numbers of them are also due
+to the hasty and careless methods of erection adopted in America.
+Both these causes may be expected to decrease rapidly in the future,
+particularly if the municipalities insist on the mains being placed
+underground, instead of being strung on poles in the streets. Mr.
+Brown is well-known from his persistent opposition to the alternate
+current system; he never misses an opportunity of insisting upon its
+dangers, and of comparing it, to its detriment, with the
+direct-current system. Now as the alternate system is rapidly
+spreading all over London and also in many parts of the kingdom,
+this is a question which interests us directly. Are we running
+special risks by permitting its establishment? As far as lighting
+currents of fifty or one hundred volts are concerned, it certainly
+matters little or nothing whether they are direct or alternate, for
+neither will produce any serious injury on the human frame. When it
+comes to currents of distribution of two thousand volts, then it is
+quite conceivable that death is more certain by the alternate
+current, but unfortunately it is also fairly certain with the direct
+current, so that there is very little to choose between them. A
+house in which the fittings were charged to such a potential would
+be as dangerous as a battlefield. What is wanted is sufficiently
+good workmanship to prevent contact ever being made between the
+distributing mains and the service wires, and this there should be
+no difficulty in obtaining. Even if a leak should occur the device
+of putting the service main to earth at one point will prevent it
+doing any harm. Mr. Brown refers to two cases in which men were
+killed by contact with a perfectly insulated wire, their death being
+caused by the static charge. We feel considerable doubt as to the
+possibility of any one being killed by a static charge under these
+circumstances; we prefer to believe that the insulator was bad,
+probably a mere taping of non-waterproof material. Just as the
+death-rate on a railway varies inversely as the perfection of the
+signalling appliances, so the fatalities in America from electricity
+will decrease as better materials are adopted, and more care is
+expended in erection.--_Engineering._
+
+       *       *       *       *       *
+
+THE MONOLITHIC CHURCH OF ST. EMILION.--About twenty miles to the
+north-east of Bordeaux is Libourne, one of the principal towns founded
+by Edward I. This flourishing commercial town was the ruin of its
+neighbor, St. Emilion, which affords a fine field for the antiquary,
+nearly the whole town consisting of buildings of the Middle Ages. A
+considerable part of the town wall of the twelfth century remains,
+with the ditch, now turned into vineyards, and at one corner is a fine
+house of the same period, which is called the Palace of the Cardinal
+de la Mothe, who may perhaps have resided in it; but it is at least a
+century older than his time, and can hardly be later than 1200, as
+will at once be seen by the details. The French antiquaries say that
+it was built by the Cardinal in 1302, and speak of it as a remarkable
+synchronism in art; but the fact appears to me simply incredible. The
+most remarkable feature of St. Emilion is the monolithic church, which
+is probably one of the most curious of its class. It is cut entirely
+out of the solid rock, and is of early Romanesque character. The
+precise date is uncertain, but it appears most probable that the work
+was commenced in the eleventh century, and carried on through the
+whole of the twelfth. St. Emilion is said to have lived in the eighth
+century. A fragment of an inscription remains, the characters of which
+agree with the eleventh century; but some of the French antiquaries
+attribute it to the ninth. Others consider it as merely the crypt of
+the church above on the top of the rock; but that church is of much
+later character, and it is much more probable that the subterranean
+church was first made, and the other built long afterwards, when the
+country was in a more settled state. This church is 115 feet long by
+80 wide. It consists of three parallel aisles, or rather a nave and
+two aisles, with plain barrel-shaped vaults, if they can be so called,
+with transverse vaults or openings, and round arches on massive square
+piers; the imposts are of the plain early Norman character, merely a
+square projection chamfered off on the under side, but one of them is
+enriched with the billet ornament. There are recesses for tombs down
+the sides, and a fourth aisle or passage has been cut out on the south
+side, apparently for tombs only, as it has recesses on both sides to
+receive the stone coffins. Still farther to the south, but connected
+by a passage, is a circular chamber in an unfinished state, with a
+domical vault, and an opening in the centre to a shaft which is
+carried up to the surface. Whether this was intended for a
+chapter-house, or for a sepulchral chapel in imitation of the Holy
+Sepulcre, is an undecided point. I incline to the latter opinion. This
+subterranean church or crypt is necessarily lighted from one end only,
+where it is flush with the face of the rock; and these openings are
+filled with Flamboyant windows, which are very evident insertions. On
+the surface of the hill over this church, but with a large space of
+solid rock intervening, is the tower and spire belonging to it. The
+tower is of late Norman and Transitional character surmounted by a
+Flamboyant crocketed spire. There is a kind of well or flue cut
+through the rock under the tower into the church below, apparently for
+the bell-ropes. In the church are remains of early painting, and some
+shallow sculpture, the character of which appears to be of the twelfth
+century. Adjoining to the church, on the south side, is a detached
+chapel of transition Norman work, with an apse vaulted with good ribs
+and vaulting shafts. A considerable part of the old painting is
+preserved; some of the ribs are painted with zigzags. Under this
+chapel is a crypt or cave cut out of the rock called the Grotto of St.
+Emilion, with a spring of water in it. The work is of the same early
+character as the other vaults.--_J. H. Parker._
+
+       *       *       *       *       *
+
+ANOTHER TALL CHIMNEY.--A factory chimney, said to be the highest in
+the world, is now being erected at the Royal Smelting-Works, near
+Freiberg, in Saxony. The horizontal flue from the works to the chimney
+is 1,093 yards long; it crosses the river Mulde, and then takes an
+upward course of 197 feet to the top of the hill upon which the
+chimney is being built. The base of the structure is thirty-nine feet
+square by thirty feet in height, on which is placed a short octagonal
+transition, from which the round shaft starts. This is 430 feet high,
+or altogether, with the base 460 feet high, with an inside diameter of
+twenty-three feet at the bottom, and sixteen feet and six inches at
+the top. It will take 1,500,000 bricks, and the cost is
+£6,000.--_Exchange._
+
+       *       *       *       *       *
+
+SITE OF A LOCRIAN TOWN.--The site of an ancient city of the Locri in
+modern Calabria, Italy, is in progress of excavation, under the
+direction of Dr. Orsi. The modern name of the spot is Gerace. A temple
+of six columns has been unearthed, and among the prizes is a Greek
+group in Parian marble, showing a divinity with a fishtail, a horse
+and a nude youth. The group is supposed to have been placed in the
+pediment of the west gable. Other finds are awaited.--_New York
+Times._
+
+       *       *       *       *       *
+
+THE WATKIN TOWER.--Four hundred plans have already been received by
+the committee who offered prizes for the best and second-best plan for
+the proposed Watkin tower--the English Eiffel. It has been said that
+it will be so high that all that need be done when fog comes on will
+be to enter the lift and in a few minutes be up in the clear
+blue.--_Boston Post._
+
+       *       *       *       *       *
+
+PERSIAN COURT ART.--M. Georges Perrot will maintain in his
+forthcoming volume on Persian art, being the fifth volume of "The
+History of Art," that the old art of Persia had nothing to do with
+the Persian people, being simply official or Court art. The
+designers and builders, sculptors and artists, were, he thinks, not
+Persians, but Greeks. The architect of the palaces of Darius was a
+Greek or a Phoenician.--_New York Times._
+
+
+
+
+[Illustration: TRADE SURVEYS]
+
+
+There are signs of a subsidence of popular hostility to railroad
+combinations, trusts and commercial and manufacturing organizations of
+various kinds intended to conserve mutual interests. If the granger
+spirit had its own way it would, through its control of the
+legislative mills, grind a good many corporations to powder, and do
+tenfold more damage by its destructive methods than could possibly be
+repaired by mistaken remedies. It is, after all, a question whether
+any form of combination is possible which can very long do much damage
+to the people at large. These gigantic commercial and railroad
+organizations with which we have recently become familiar are
+giant-like efforts of enormous interests to rise up out of old
+conditions. Progress and development must take place, and the efforts
+of trusts, associations and combinations by whatever name known are
+simply the preliminary movements of mighty interests to reorganize
+themselves upon a broader and higher platform. The people in their
+jealousy and anxiety to protect themselves have, in some sections of
+the country, run into the adoption of extreme measures. They are
+already preparing to retrace their steps, and for several reasons.
+They are discovering that they have been fighting a bugbear; also,
+that their legislation against the bugbear cannot legislate. Also,
+that money stays away from radical communities, that many possible
+advantages are lost; that combinations properly controlled have,
+within themselves, the capabilities of accomplishing much good.
+Despite the threatened damage of these monster combinations prices
+have been quietly and steadily declining in nearly every direction;
+railroad freights have slipped down, notch after notch. Association
+after association has come and gone, and the Interstate Railway Law
+itself is in danger of being set aside for something better. The
+people are learning to have less fear of these combinations, and more
+confidence in themselves and for the underlying laws of trade. The
+year ends with gratifying results to business men in every avenue of
+activity. The action of the Treasury Department furnishes a hint to
+the country that a large supply of currency may soon become a
+necessity. The evil that would result from an unexpected and prolonged
+financial stringency cannot be measured. Over five thousand new
+corporations, firms and business associations have started in the
+South last year, as against something like 3,700 for 1888. Never in
+our history was there such an incubation of new business ventures. A
+stringency in money will destroy these by the thousand. Two or three
+scores of railroad enterprises which have reached the stage of
+bond-issuing would also be thrown aside, and thousands of enlargements
+of manufacturing and mining properties would be postponed; but it is
+useless to borrow trouble, or to paint dismal possibilities, as it is
+to be presumed that the people and their spokesmen fully understand
+the question. There is not a single branch of business in which
+reasonable fault can be found with results, excepting the one general
+result of very narrow margins. Consuming-capacity, on the whole, has
+increased. The wage-earners are earning as much as for years past, and
+are receiving more for their expenditures; that is to say, less of the
+product of labor in the aggregate is being absorbed by middlemen, or
+what might be termed non-productive agencies. The production of labor
+is being more evenly and equitably distributed than ever before. The
+ideal justice dreamed of by the philosophic socialists is within
+reach. In short, the wage-worker is better off, has more advantages,
+greater opportunities, and is yearly becoming a more important factor
+in the Government.
+
+As long as railway gross and net earnings continue to improve no
+reaction is to be feared, according to the dictum of Wall Street.
+There are strong probabilities that the favorable showing will
+continue. The anthracite coal production for 1889 foots up 35,200,000
+tons, as against 38,145,718 tons for 1888. The distribution of soft
+coal throughout the New England and Middle States for steam-raising
+and general manufacturing purposes is gradually increasing. Last
+week's distribution of Connellsville coke reached the unprecedented
+figures of 125,000 tons. The production for the year foots up over
+4,500,000 tons. The expansion and development of industries throughout
+the Middle and Southern States continues, and hundreds of new
+enterprises will take shape early in the spring. Iron and steel makers
+are projecting new furnaces and mills in Pennsylvania, Ohio, Kentucky,
+Tennessee and Alabama. Some forty or fifty cotton mills are projected
+between Georgia and Texas. Mining companies representing fully forty
+million dollars of capital--that is, actual working capital--will
+begin operations this winter along the eastern slope of the Rocky
+Mountains. Industrial and building activity will take a fresh start
+upon the Pacific coast. Among the branches which will be developed
+will be saw-mill and foundry building. Machinery, engines, castings of
+all kinds, stoves and small iron and wood work are in great demand all
+along the coast from the Columbia River to Los Angeles. A great deal
+of capital and enterprise has been encouraged thither during 1889,
+and, as a result, manufacturing is greatly stimulated. The Dominion
+Government is also alive to the importance of developing relations
+with Asiatic and other foreign countries, and ship-lines are projected
+from its western seaports to foreign countries. Railroad-building is
+also being greatly stimulated by private enterprise. A vast amount of
+capital is drifting into the Rocky Mountain and Pacific coast regions
+from Eastern cities, and a great empire is being built up there which
+will be a source of wealth to those who obtain possession of land,
+timber, minerals and manufacturing facilities before the general
+enhancement of values takes place. The benefits originally
+contemplated by the construction of the trans-continental roads are
+now only being felt in their intensity. Irrigation companies, heavily
+capitalized, are doing excellent work in reclaiming vast tracts which
+geographers declared lost to all future utility. Mining engineers who
+have made a very careful examination and survey of much Western
+territory in the interest of Boston and New York moneyed men furnish
+evidences of wealth in those sections, which cannot but bring to them
+the money and enterprise necessary to their full development. The
+smaller industries throughout the States east of the Mississippi River
+are all doing well. Manufacturers are making money, but not as rapidly
+as they would like. Competition is exercising a healthy restraining
+influence. Like interests are being drawn together through the spirit
+of organization. Manufacture and agriculture are evenly balancing
+themselves. Commercial failures for 1889 show a moderate increase,
+but, considering the rashness with which ill-equipped persons enter
+into business and manufacturing, it is surprising that the failures
+are so few.
+
+       *       *       *       *       *
+
+S. J. PARKHILL & CO., Printers, Boston.
+
+
+
+
+Transcriber's Note:
+
+Minor printer errors (omitted or incorrect punctuation, missing or
+transposed letters etc.) have been corrected without note. All
+remaining variations in spelling, hyphenation, etc. are preserved as
+in the original, with the following exceptions:
+
+ Page iv--Concontractors amended to Contractors--"Estimates.
+ Builders' and Sub-Contractors', 161"
+
+ Page iv--Judæan amended to Judean--"Judean Tombs, 117"
+
+ Page v--Scandinavan amended to Scandinavian--"Scandinavian
+ Art, 37, 53, 63"
+
+ Page v--Maxmilian amended to Maximilian--"Tomb. [of]
+ Maximilian at Innsbruck, 61"
+
+ Page vii--place name and page reference transposal
+ reversed--"Strozzi Palace, Florence, 70"
+
+ Page viii--Ruitz amended to Rintz--"Berlin, Ger. ... House
+ on the Yorkstrasse. Herr Rintz, ..."
+
+ Page viii--Willisch amended to Wellisch--"Buda-Pesth,
+ Austria. House of Herr Hatner. Alfred Willisch, ..."
+
+ Page viii--Felixtowe amended to Felixstowe--"Felixstowe,
+ Eng. The Gables." etc.
+
+ Page viii--repeated 'the' deleted--"Painting by Puvis de
+ Chavannes in the Grand Hall ..."
+
+ Page 5--succedded amended to succeeded--"... far from
+ honourable, have succeeded in getting control ..."
+
+ Page 7--scholorship amended to scholarship--"... to whom
+ scholarship is dear ..."
+
+ Page 9--argillacious amended to argillaceous--"... of a
+ loose argillaceous irony matter ..."
+
+ Page 9--repeated 'is' deleted--"... showing that it is not
+ its geological position ..."
+
+ Page 11--gripe amended to grip--"... carrying a lion whose
+ dreadful grip his frantic rearing cannot loosen."
+
+The index entry on p vi, Suggestion for the Executive Mansion by
+Theodore F. Laist, etc. has no page reference in the original
+publication.
+
+The word Phoenician was printed with an oe ligature. This has not been
+retained in this version.
+
+Illustrations have been shifted slightly so as not to fall in the
+middle of paragraphs.
+
+
+
+
+
+End of the Project Gutenberg EBook of The American Architect and Building
+News, Vol. 27, Jan-Mar, 1890, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK AMERICAN ARCHITECT ***
+
+***** This file should be named 21596-8.txt or 21596-8.zip *****
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+      The Project Gutenberg eBook of The American Architect and Building News, Vol. 27, No. 732, by Various.
+    </title>
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+<pre>
+
+The Project Gutenberg EBook of The American Architect and Building News,
+Vol. 27, Jan-Mar, 1890, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The American Architect and Building News, Vol. 27, Jan-Mar, 1890
+
+Author: Various
+
+Release Date: May 24, 2007 [EBook #21596]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK AMERICAN ARCHITECT ***
+
+
+
+
+Produced by Juliet Sutherland, Sam W. and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div class="figcenter" style="width: 378px;">
+<a href="images/aabn_01.png">
+<img src="images/aabn_01th.png" width="378" height="600"
+alt="The American Architect and Building News, Vol 27, January - March 1890"
+title="The American Architect and Building News" /></a>
+</div>
+
+<p>
+<br />
+<br />
+<br />
+</p>
+
+<p class="center"><span class="smcap">S. J. Parkhill &amp; Co.</span> Printers<br />
+Boston Mass.</p>
+
+<p>
+<br />
+<br />
+<br />
+</p>
+
+<p><span class='pagenum'><a name="Page_iii" id="Page_iii">[Pg&nbsp;iii]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<h1><img src="images/aabn_02.png" width="600" height="233"
+alt="Decorative title"
+title="The American Architect and Building News" /></h1>
+</div>
+
+<p>
+<br />
+<br />
+<br />
+</p>
+
+<h2><span class="smcap">Index to Volume XXVII.</span></h2>
+
+<p class="center"><span class="smcap">January-March, 1890.</span></p>
+
+<p class="center"><br />
+<a href="#A">A</a> <a href="#B">B</a> <a href="#C">C</a>
+<a href="#D">D</a> <a href="#E">E</a> <a href="#F">F</a>
+<a href="#G">G</a> <a href="#H">H</a> <a href="#I">I</a>
+<a href="#J">J</a> <a href="#K">K</a> <a href="#L">L</a>
+<a href="#M">M</a> <a href="#N">N</a> <a href="#O">O</a>
+<a href="#P">P</a> <a href="#Q">Q</a> <a href="#R">R</a>
+<a href="#S">S</a> <a href="#T">T</a> <a href="#U">U</a>
+<a href="#V">V</a> <a href="#W">W</a> <a href="#Y">Y</a>
+<a href="#Z">Z</a><br />
+<br />
+<a href="#ILLUSTRATIONS">ILLUSTRATIONS</a><br />
+<a href="#ILLUSTRATIONS_INTERNATIONAL_EDITION">ILLUSTRATIONS&mdash;INTERNATIONAL EDITION</a><br />
+<a href="#TEXT_CUTS">TEXT CUTS</a><br />
+<a href="#INDEX_BY_LOCATION">INDEX BY LOCATION</a><br />
+</p>
+
+<p><a name="A" id="A"></a>
+Abattoirs, 128<br />
+Aberbrothwick. The Abbey of, 13<br />
+Aboriginal Races of America. The, 151<br />
+<span class="smcap">Accidents</span>:&mdash;<br />
+<span style="margin-left: 1em;">Fall of a Hotel in Sydney, N.S.W., 184</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1"> &ldquo; </span>&ldquo; Scaffold, 104</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1"> &ldquo; </span> St. Louis Academy of Music, 66</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1"> &ldquo; </span> the Roof of the Flora Hall, Hamburg, 196</span><br />
+Agreement between Architect and Client, 30<br />
+Albany Capitol. Defective Gutters on the, 97<br />
+Aluminium from Bauxite, 194<br />
+Alva. Statue of the Duke of, 74<br />
+America. The Aboriginal Races of, 151<br />
+<i>American Architect</i> Travelling-Scholarship Design for a New White House. The, 158<br />
+American Bricks, 77<br />
+A.I.A. Convention. The, 79<br />
+<span class="ditto2"> &ldquo; </span> Illinois Chapter of, 182<br />
+<span class="ditto2"> &ldquo; </span> Philadelphia Chapter, 46<br />
+<span class="ditto2"> &ldquo; </span> St. Louis Chapter, 206<br />
+<span class="ditto2"> &ldquo; </span> Washington Chapter, 43<br />
+Amsterdam. High-level Bridge for, 47<br />
+Ancient Architecture, 19, 35, 51<br />
+Andr&eacute;, Architect. Death of Jules, 145<br />
+<span class="ditto2"> &ldquo; </span> The Career of M. Jules, 162<br />
+&ldquo;Angelus.&rdquo; Millet&#8217;s, 12<br />
+Apartment-house. The, 3<br />
+<span class="smcap">Arch&aelig;ological</span>:&mdash;<br />
+<span style="margin-left: 1em;">Burial Mounds, 99, 151</span><br />
+<span style="margin-left: 1em;">Cleopatra&#8217;s Tomb, 141</span><br />
+<span style="margin-left: 1em;">Delphi. The Proposed Excavations at, 65</span><br />
+<span style="margin-left: 1em;">Dighton Rock. The, 93</span><br />
+<span style="margin-left: 1em;">Hissarlik Controversy. The, 144</span><br />
+<span style="margin-left: 1em;">History of Habitation. The, 149, 168</span><br />
+<span style="margin-left: 1em;">Locrian Town. The Site of a, 16</span><br />
+<span style="margin-left: 1em;">Maya. Temples of Ancient, 204</span><br />
+<span style="margin-left: 1em;">Mesopotamia. Explorations in, 160</span><br />
+<span style="margin-left: 1em;">Obelisk. Protecting the New York, 178, 207</span><br />
+<span style="margin-left: 1em;">Persian Court Art, 16</span><br />
+<span style="margin-left: 1em;">Rome. Discovery of an Ancient Viaduct in, 80</span><br />
+<span style="margin-left: 1em;">St. Emilion. The Monolithic Church of, 16</span><br />
+<span style="margin-left: 1em;">Scandinavia. Discoveries in, 63</span><br />
+<span style="margin-left: 1em;">Uxmal, 204</span><br />
+<span style="margin-left: 1em;">Vikings. The Art of the, 37, 53</span><br />
+<span style="margin-left: 1em;">Yucatan. Ancient Temples in, 204</span><br />
+<span style="margin-left: 1em;"><span class="ditto3"> &ldquo; </span> Exploring Expedition. A New, 112</span><br />
+<span style="margin-left: 1em;"><span class="ditto3"> &ldquo; </span> Ruins and Works of Art in, 58</span><br />
+Arches. Concrete, 1<br />
+<span class="smcap">Architect</span>:&mdash;<br />
+<span style="margin-left: 1em;">New York State. The, 206</span><br />
+<span class="smcap">Architects</span>:&mdash;<br />
+<span style="margin-left: 1em;">Annoyances of. The, 194</span><br />
+<span style="margin-left: 1em;">Chimney-flues and, 146</span><br />
+<span style="margin-left: 1em;">Dismissal of. The Right of, 158</span><br />
+<span style="margin-left: 1em;">Examinations and Diplomas, 162</span><br />
+<span style="margin-left: 1em;">in Canada. The Registration of, 183</span><br />
+<span style="margin-left: 1.25em;"> &ldquo; Spanish America, 18</span><br />
+<span style="margin-left: 1em;">Incomes of. The, 1, 47, 127</span><br />
+<span style="margin-left: 1em;">Libel-suit Between. A, 206</span><br />
+<span style="margin-left: 1em;">New South Wales Institute of. Quarrel in the, 183</span><br />
+<span style="margin-left: 1em;">of Mons Cathedral. The, 114</span><br />
+<span style="margin-left: 1em;">Office. A Chicago, 50</span><br />
+<span style="margin-left: 1em;">Ontario Association of, 41</span><br />
+<span style="margin-left: 1em;">Philadelphia Master-Builders and the, 161</span><br />
+<span style="margin-left: 1em;">Reputation of. The Influence of Architectural Journals on the, 17</span><br />
+<span style="margin-left: 1em;">Responsibility of. The, 2, 130</span><br />
+<span style="margin-left: 1em;">Stray Thoughts for Young, 90</span><br />
+<span style="margin-left: 1em;">Suit against a Railroad. An, 194</span><br />
+<span class="smcap">Architectural</span>:&mdash;<br />
+<span style="margin-left: 1em;">Club. Boston, 95</span><br />
+<span style="margin-left: 1em;">Drawings at the League Exhibition, 40, 57, 143</span><br />
+<span style="margin-left: 1em;"><span class="ditto3"> &ldquo; </span> Philadelphia Exhibitions of, 107, 146</span><br />
+<span style="margin-left: 1em;">Education at Munich, 181</span><br />
+<span style="margin-left: 1.5em;"><span class="ditto3"> &ldquo; </span> in France, 162</span><br />
+<span style="margin-left: 1em;">Exhibition at the Pennsylvania Academy, 107</span><br />
+<span style="margin-left: 1em;">Journals on the Reputation of Architects. The Influence of, 17</span><br />
+<span style="margin-left: 1em;">League Exhibition. The, 40, 57, 143</span><br />
+<span style="margin-left: 1em;">Prints. Arranging, 207</span><br />
+<span style="margin-left: 1em;">Shades and Shadows, 56</span><br />
+<span style="margin-left: 1em;">Styles. Changes of, 108</span><br />
+<span style="margin-left: 1em;">Water-color Drawings, 107</span><br />
+<span class="smcap">Architecture</span>:&mdash;<br />
+<span style="margin-left: 1em;">Ancient, 19, 35, 51</span><br />
+<span style="margin-left: 1em;">at Evanston, Ill., 118</span><br />
+<span style="margin-left: 1em;">Civil and Domestic, 19, 35, 51, 67, 83</span><br />
+<span style="margin-left: 1em;">Decoration and, 6</span><br />
+<span style="margin-left: 1em;">Funerary, 99, 115, 131, 147, 163</span><br />
+<span style="margin-left: 1em;">History of. The, 150</span><br />
+<span style="margin-left: 1em;">in Baltimore, 187</span><br />
+<span style="margin-left: 1.25em;"> &ldquo; Brooklyn, 5</span><br />
+<span style="margin-left: 1em;">of the Brooklyn Institute. Department of, 206</span><br />
+<span style="margin-left: 1em;">Military, 179, 195</span><br />
+<span style="margin-left: 1em;">Sculpture and, 7</span><br />
+<span style="margin-left: 1em;">Spanish. Sir Frederick Leighton on a Device of, 146</span><br />
+<span style="margin-left: 1em;">Study of. The, 6</span><br />
+Army Engineer and our Public Buildings. The, 143<br />
+Arranging Architectural Prints, 207<br />
+Art Museum. The Cost of a Small, 23<br />
+<span class="ditto1"> &ldquo; </span> of the Vikings. The, 37, 53<br />
+<span class="ditto1"> &ldquo; </span> The Tariff on Works of, 18<br />
+Artificial-ice Skating-rink. An, 145<br />
+Artists. Quarrel among French, 80<br />
+Asphalt Paving, 82<br />
+Assyrian Architecture, 20<br />
+<span class="ditto3"> &ldquo; </span> Fortifications, 179<br />
+<span class="ditto3"> &ldquo; </span> Tombs, 116, 144<br />
+Australia. Engineering Triumphs in, 106<br />
+<span class="ditto3"> &ldquo; </span> Letters from, 106, 183<br />
+<span class="ditto3"> &ldquo; </span> Roman Catholic Buildings in, 107<br />
+Automatic Sprinklers in Mills, 177</p>
+
+<p><a name="B" id="B"></a>
+<span class="smcap">Baltimore</span>:&mdash;<br />
+<span style="margin-left: 1em;">Architecture in, 187</span><br />
+<span style="margin-left: 1em;">Building-permits in, 97</span><br />
+<span style="margin-left: 1em;">Letters from, 187</span><br />
+<span style="margin-left: 1em;">Pennsylvania Steel Company&#8217;s Works near. The, 188</span><br />
+<span style="margin-left: 1em;">Railway. The proposed &ldquo;Belt Line,&rdquo; 188</span><br />
+Balveny Castle, Scotland, 61<br />
+Barye Exhibition. The, 10<br />
+Barye&#8217;s English Admirer, 15<br />
+Bauxite. Aluminium from, 194<br />
+Belgian Prizes and Honors, 34<br />
+Belle Isle Dam. The Straits of, 48<br />
+Belt Line Railway for Baltimore. A, 188<br />
+Berlin Industrial Museum Exhibition, 174<br />
+<span class="ditto2"> &ldquo; </span> Technical College. The, 140<br />
+Beryt or Fluid Marble, 160<br />
+Bids. The Right of Revising, 194<br />
+&ldquo;Black-lining&rdquo;? What is, 65<br />
+Books on School-houses, 207<br />
+Borrowing Suburban Fire-Engines, 18, 146<br />
+<span class="smcap">Boston</span>:&mdash;<br />
+<span style="margin-left: 1em;">Architectural Club, 95</span><br />
+<span style="margin-left: 1em;">Building Laws. The, 109</span><br />
+<span style="margin-left: 1em;">Fires. Water Used in, 79</span><br />
+<span style="margin-left: 1em;">Letter from, 190</span><br />
+<span style="margin-left: 1em;">Lock-out in the Freestone-Cutting Trade, 161, 177</span><br />
+<span style="margin-left: 1em;">Manufacturers Mutual Fire Insurance Company. Annual Report of, 177</span><br />
+<span style="margin-left: 1em;">Museum of Fine Arts. The, 175, 190</span><br />
+<span style="margin-left: 1em;">Society of Architects, 14</span><br />
+<span style="margin-left: 1em;">Walking-delegate&#8217;s Power. A, 193</span><br />
+Botticher <i>vs.</i> Dr. Schliemann. Dr., 144<br />
+Bourse du Commerce, Paris. The New, 185<br />
+Brentano, Architect. Death of Signor, 130<br />
+Brick. Cheap Unbaked Colored, 176<br />
+Bricks. American, 77<br />
+Bridge at London. The Tower, 192<br />
+<span class="ditto2"> &ldquo; </span> for Amsterdam. High-level, 47<br />
+<span class="ditto2"> &ldquo; </span> Testing the Forth, 160<br />
+<span class="ditto2"> &ldquo; </span> The Hawkesbury Railway, 106<br />
+Bridges in China. Ancient, 96<br />
+British Museum. Electric-Light at the, 104<br />
+Brooklyn. Architecture in, 5<br />
+<span class="ditto3a"> &ldquo; </span> Institute. Department of Architecture of the, 206<br />
+Bronze Gates for Cologne Cathedral, 135<br />
+Brunswick Monument at Geneva. The, 18<br />
+Buenos Ayres, 18<br />
+Builders. Convention of National Association of Master, 34, 81<br />
+<span class="smcap">Building</span>:&mdash;<br />
+<span style="margin-left: 1em;">Committee. A Competitor&#8217;s Suit against a, 104</span><br />
+<span style="margin-left: 1em;">Contracts. German, 82</span><br />
+<span style="margin-left: 1em;">Laws. The Boston, 109</span><br />
+<span style="margin-left: 1em;">Permits in Baltimore, 97</span><br />
+<span style="margin-left: 1em;">Safe, 121, 135, 197</span><br />
+<span style="margin-left: 1em;">Stones. Decay of, 98</span><br />
+<span style="margin-left: 1em;">Swedish Penalties for Bad, 72</span><br />
+<span style="margin-left: 1em;">Syndicate. Proposed, 81</span><br />
+<span style="margin-left: 1em;">Trades. Troubles in the, 193</span><br />
+Bull-fights in Paris, 130<br />
+Bull-ring for Paris. Proposed, 50<br />
+Bureau of Ethnology&#8217;s Fifth Annual Report. The, 151<br />
+Burial-mounds, 99, 151<br />
+Building and the Underwriters. Safe, 49, 97<br />
+Burmese Temples. Jewels in, 58<br />
+Burnham &amp; Root&#8217;s Office, 50<br />
+Byzantine Architecture, 52<br />
+</p>
+
+
+<p><a name="C" id="C"></a>
+Canada. Letters from, 41, 104, 182<br />
+<span class="ditto3"> &ldquo; </span> Proposed Public Buildings in, 104<br />
+<span class="ditto3"> &ldquo; </span> The History of Education in, 183<br />
+<span class="ditto3"> &ldquo; </span> The Registration of Architects in, 183<br />
+Cast-iron and its Treatment for Artistic Purposes, 201<br />
+<span class="ditto3"> &ldquo; </span> Pavements, 192<br />
+Castle Campbell, Scotland, 127<br />
+<span class="ditto2"> &ldquo; </span> of St. Angelo, Rome. The, 208<br />
+<span class="ditto2"> &ldquo; </span> Vincigliata, Italy. The, 62<br />
+Casts at the Boston Art Museum, 190<br />
+Catacombs, 147<br />
+Cathedral. Bronze Gates for Cologne, 135<br />
+<span class="ditto3a"> &ldquo; </span> Drawings at the League Exhibition, 30, 62<br />
+<span class="ditto3a"> &ldquo; </span> of Mons. The, 114<br />
+<span class="ditto3a"> &ldquo; </span> St. Machar. The, 27<br />
+<span class="ditto3a"> &ldquo; </span> Strasbourg, 153<br />
+<span class="ditto3a"> &ldquo; </span> The Completion of Milan, 130<br />
+<span class="ditto3a"> &ldquo; </span> Towers, 92, 102<br />
+Cathedrals. Clearing away Buildings around, 162<br />
+Cats. Egyptian Mummy, 208<br />
+Cawdor Castle, Scotland, 110<br />
+Celtic Tumuli, 99<br />
+Cement. Palming off Poor, 113<br />
+Cemented Surfaces. Painting on, 146<br />
+Cemeteries. Medi&aelig;val, 164<br />
+Cemetery Vaults, 47<br />
+Centennial Hall, Sydney, N.S.W., 184<br />
+Charges. A Question of, 207<br />
+<span class="smcap">Chicago</span>:&mdash;<br />
+<span style="margin-left: 1em;">Letters from, 118, 182</span><br />
+<span style="margin-left: 1em;">Suburban Building in. Rapid Transit and, 182</span><br />
+<span style="margin-left: 1em;">World&#8217;s Fair. The, 177, 182</span><br />
+Chimney. A Tall, 16<br />
+<span class="ditto3"> &ldquo; </span> flues. Architects and, 146<br />
+China. Ancient Bridges in, 96<br />
+Chinese Architecture, 19<br />
+Christians. The Primitive, 147<br />
+Church-restoring by Lottery, 128<br />
+<span class="ditto2a"> &ldquo; </span> Towers, 91, 92, 102<br />
+Churches. The Picturesque Lighting of, 146<br />
+Cippi, 134<br />
+Circular Annoyance. The, 194<br />
+&ldquo;City of the Gods,&rdquo; Mexico. The, 172<br />
+Civil and Domestic Architecture, 19, 35, 51, 67, 83<br />
+Clark, Architect. Death of George, 63<br />
+Cleopatra&#8217;s Tomb, 141<br />
+Clerk-of-works Question. The, 79, 111, 159<br />
+Cohesive Construction, 123<br />
+Cologne Cathedral. Bronze Gates for, 135<br />
+<span style="margin-left: 1.5em;">&ldquo; <span class="ditto5"> &ldquo; </span> Clearing away Buildings around, 162</span><br />
+Color Changes in New York Buildings, 108<br />
+Colored Brick. Cheap unbaked, 176<br />
+Columbaria, 134<br />
+Columns. Ventilating Wooden, 31<br />
+Commission on a Standing Party-wall, 142<br />
+Commissioner of the Albany Capital The, 206<br />
+Commissions. The Question of, 31, 159<br />
+Compensation. A Question of, 207<br />
+<span class="smcap">Competitions</span>:&mdash;<br />
+<span style="margin-left: 1em;">Drawings, 40, 62, 65</span><br />
+<span class='pagenum'><a name="Page_iv" id="Page_iv">[Pg&nbsp;iv]</a></span>
+<span style="margin-left: 1em;">Grant Monument. The, 145</span><br />
+<span style="margin-left: 1em;">Hartford Railroad Station. The, 194</span><br />
+<span style="margin-left: 1em;">Montreal Insane Asylum, 104</span><br />
+<span style="margin-left: 1em;">New York Episcopal Cathedral, 40, 62</span><br />
+<span style="margin-left: 1em;">Quebec City-hall. The, 63</span><br />
+<span style="margin-left: 1em;">Sheffield Municipal Buildings. The, 33</span><br />
+Competitor&#8217;s Suit against a Building-committee. A, 104<br />
+Composite Metal. A New, 93<br />
+Concentrated Residence in various Countries, 88, 119<br />
+Concrete Arches, 1<br />
+&ldquo;Concrete.&rdquo; Laying a Foundation of Dry, 113<br />
+Concrete. Wrong Methods of Mixing, 114<br />
+Cond&eacute;. Fremiet&#8217;s Figure of, 76<br />
+Congressional Palace. The Mexican, 96<br />
+Construction. Cohesive, 123<br />
+<span class="ditto5"> &ldquo; </span> German, 155<br />
+<span class="ditto5"> &ldquo; </span> Improvements in Mill, 177<br />
+<span class="ditto5"> &ldquo; </span> Slow-burning, 29, 97<br />
+Contract. The Lowell City-hall, 194<br />
+<span class="ditto3"> &ldquo; </span> &ldquo;Standard Form&rdquo; of, 81<br />
+<span class="ditto3"> &ldquo; </span> taking Labor Syndicates, 194<br />
+Contracting Syndicate. Proposed, 81<br />
+Contractors. Great, 95<br />
+Contractor&#8217;s Profit-sharing. A, 2, 43<br />
+Contracts. German Building, 82<br />
+<span class="ditto3a"> &ldquo; </span> Importance of Written, 65<br />
+Convention of National Association of Master-Builders, 34, 81<br />
+Copan in Yucatan. The Ruins of, 59<br />
+Copper-rolling. Remarkable, 80<br />
+Corrections, 79<br />
+Cotman. John Sell, 174<br />
+Count and his Machine. A Mysterious, 112<br />
+County Council. The London, 104<br />
+Coverings for Steam-pipes, 22, 157<br />
+Craigievar Castle, Scotland, 189<br />
+</p>
+
+
+<p><a name="D" id="D"></a>
+Dalmeny Church, Scotland, 189<br />
+Dam. The Straits of Belle Isle, 48<br />
+Dangers of Electricity. The, 15, 27<br />
+Dead. The Disposition of the, 24<br />
+Deaths from Electricity, 15, 27<br />
+Decay of Building Stones. The, 98<br />
+Decoration and Architecture, 6<br />
+Decorative Paintings in the new Bourse du Commerce, Paris. The, 185<br />
+Delphi. The Proposed Excavations at, 65<br />
+Dessication of the Dead, 25<br />
+Dighton Rock. The, 93<br />
+Directory. A Lamp-post, 98<br />
+Dismissal of an Architect. The Right of, 158<br />
+Divining-rod. The, 15<br />
+Domes. Spires, Towers and, 91, 101<br />
+Domestic Architecture. Civil and, 19, 35, 51, 67, 83<br />
+Doors. Fire, 156<br />
+Drawing Instruments. A Yale Professor&#8217;s Trouble through Prescribing, 66<br />
+Drawings at Architectural League Exhibition, 40, 57, 143<br />
+<span class="ditto2a"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Philadelphia. Exhibition of Architectural, 107, 146<br />
+<span class="ditto2a"> &ldquo; </span>&ldquo;Black-lining&rdquo; Competition, 65<br />
+Durand, Architect. Death of George F., 1<br />
+Duty on Window-glass. The, 31<br />
+</p>
+
+
+<p><a name="E" id="E"></a>
+Earnings of Architects. The, 1<br />
+East River Tunnel. The Proposed, 178<br />
+Education in Canada. The History of, 183<br />
+Effigies. Funeral, 164<br />
+Egyptian Architecture, 20<br />
+<span class="ditto3"> &ldquo; </span> Fortifications. Ancient, 179<br />
+<span class="ditto3"> &ldquo; </span> Tombs, 99, 115<br />
+Eight-hour Movement. The, 1, 93, 194<br />
+<span class="smcap">Electric</span>:&mdash;<br />
+<span style="margin-left: 1em;">Light at the British Museum, 104</span><br />
+<span style="margin-left: 1em;">Lights and Motors, 79</span><br />
+<span style="margin-left: 1em;">Railways, 64, 111, 128</span><br />
+<span style="margin-left: 1em;">Reading light for Railways, 50</span><br />
+<span style="margin-left: 1em;">Welding, 176</span><br />
+<span style="margin-left: 1em;">Wire. The Queen of Greece and an, 128</span><br />
+Electrical Terms, 44<br />
+Electricity and Insurance, 79<br />
+<span class="ditto3a"> &ldquo; </span> The Dangers of, 15, 27<br />
+Elevator in Stockholm. An American, 111<br />
+Emperor Frederick. A Statue of the, 208<br />
+Engine. A new Style of Railway, 82<br />
+Engineer and our Public Buildings. The Army, 143<br />
+<span class="smcap">Engineering</span>:&mdash;<br />
+<span style="margin-left: 1em;">Bridge. A complete Account of the Forth, 177</span><br />
+<span style="margin-left: 1em;"><span class="ditto2a"> &ldquo; </span> for Amsterdam. High-level, 47</span><br />
+<span style="margin-left: 1em;"><span class="ditto2a"> &ldquo; </span> London&#8217;s Tower, 192</span><br />
+<span style="margin-left: 1em;"><span class="ditto2a"> &ldquo; </span> Testing the Forth, 160</span><br />
+<span style="margin-left: 1em;"><span class="ditto2a"> &ldquo; </span> The Hawkesbury Railway, 106</span><br />
+<span style="margin-left: 1em;"><span class="ditto2a"> &ldquo; </span> in China. Ancient, 96</span><br />
+<span style="margin-left: 1em;">Dam. The Straits of Belle Isle, 48</span><br />
+<span style="margin-left: 1em;">Docks at Vizagapatam. Mud, 63</span><br />
+<span style="margin-left: 1em;">Electric Railways, 64, 111</span><br />
+<span style="margin-left: 1em;">Elevator in Stockholm. American, 111</span><br />
+<span style="margin-left: 1em;">Railroad. A Pneumatic Street, 95</span><br />
+<span style="margin-left: 1em;"><span class="ditto3"> &ldquo; </span> for Baltimore. A Proposed Belt-line, 188</span><br />
+<span style="margin-left: 1em;">Tower for the Exhibition of 1892. High, 177</span><br />
+<span style="margin-left: 1em;"><span class="ditto2"> &ldquo; </span> The Watkin, 16, 105</span><br />
+<span style="margin-left: 1em;">Tunnel. The East River, 178</span><br />
+<span style="margin-left: 1em;"><span class="ditto2a"> &ldquo; </span><span class="ditto1"> &ldquo; </span> St. Clair River, 128</span><br />
+<span style="margin-left: 1em;"><span class="ditto2a"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Washington Aqueduct, 103</span><br />
+<span style="margin-left: 1em;">Water-power. A Remarkable, 47</span><br />
+&ldquo;Entombment&rdquo; in Mexico. A Titian, 60<br />
+Entombment. Sanitary, 24<br />
+Episcopal Cathedral, New York, Competition, 40, 62<br />
+Equestrian Monuments, 72, 170<br />
+Estimates. Builders&#8217; and Sub-Contractors&#8217;, 161<br />
+Ethnology&#8217;s Fifth Annual Report. The Bureau of, 151<br />
+Etruscan Architecture, 36<br />
+<span class="ditto3"> &ldquo; </span>Tombs, 131<br />
+Evanston, Ill. Architecture at, 118<br />
+Evaporation of Water in Traps, 15<br />
+Examinations and Diplomas. Architects&#8217;, 162<br />
+<span class="smcap">Exhibition</span>:&mdash;<br />
+<span style="margin-left: 1em;">Architectural League. The, 40, 57, 143</span><br />
+<span style="margin-left: 1em;">Boston Architectural Club, 95</span><br />
+<span style="margin-left: 1em;">of 1892. The Chicago, 177</span><br />
+<span class="smcap">Exhibitions</span>:&mdash;<br />
+<span style="margin-left: 1em;">of Architectural Drawings at Philadelphia, 107, 146</span><br />
+<span class="smcap">Exposition of 1889</span>:&mdash;<br />
+<span style="margin-left: 1em;">Algerian Pavilion at the, 105</span><br />
+<span style="margin-left: 1em;">Buildings of the, 21, 105</span><br />
+<span style="margin-left: 1em;">Cairo Street at the, 105</span><br />
+<span style="margin-left: 1em;">Cochin-Chinese Pavilion at the, 106</span><br />
+<span style="margin-left: 1em;">Colonial Sections at the, 105</span><br />
+<span style="margin-left: 1em;">Double Statue at the, 32</span><br />
+<span style="margin-left: 1em;">Forestry Pavilion at the, 105</span><br />
+<span style="margin-left: 1em;">History of Habitation at the, 149, 168</span><br />
+<span style="margin-left: 1em;">Indian Pavilion at the, 105</span><br />
+<span style="margin-left: 1em;">Palaces of Liberal and Fine Arts, 21</span><br />
+<span style="margin-left: 1em;">Pavilions at the. The City of Paris, 21</span><br />
+<span style="margin-left: 1em;">Portuguese Pavilion at the, 105</span><br />
+<span style="margin-left: 1em;">Sanitary Exhibits at the, 21</span><br />
+<span style="margin-left: 1em;">Spanish Pavilion at the, 105</span><br />
+<span style="margin-left: 1em;">Tunisian Pavilion at the, 106</span><br />
+<span style="margin-left: 1em;">Views of Old Paris at the, 21</span><br />
+</p>
+
+
+<p><a name="F" id="F"></a>
+Fall of a Hotel in Sydney, N.S.W., 184<br />
+<span style="margin-left: 1em;">&ldquo;<span class="ditto1"> &ldquo; </span> St. Louis Academy of Music, 66</span><br />
+<span style="margin-left: 1em;">&ldquo;<span class="ditto1"> &ldquo; </span> the Roof of the Flora Hall, Hamburg, 196</span><br />
+Ferstel. Baron, 66<br />
+Feudal Military Architecture, 195<br />
+Fifteenth Century &ldquo;Working-day.&rdquo; A, 155<br />
+<span class="smcap">Fire</span>:&mdash;<br />
+<span style="margin-left: 1em;">Apparatus, 29</span><br />
+<span style="margin-left: 1em;">Backs, 201, 203</span><br />
+<span style="margin-left: 1em;">Destruction of Toronto University by, 182</span><br />
+<span style="margin-left: 1em;">Doors, 156</span><br />
+<span style="margin-left: 1em;">Engines. Borrowing Suburban, 18, 146</span><br />
+<span style="margin-left: 1em;">in Secretary Tracy&#8217;s House. The, 186</span><br />
+<span style="margin-left: 1em;">Loss. Reducing the, 28</span><br />
+Fireplace Throat. The Open, 159<br />
+Fireproof Floor. The Schneider, 158<br />
+<span class="ditto3a"> &ldquo; </span> Whitewash, 208<br />
+<span class="smcap">Fires</span>:&mdash;<br />
+<span style="margin-left: 1em;">in American Cities, 97</span><br />
+<span style="margin-left: 1.25em;"> &ldquo; Mills. Extinguishing, 177</span><br />
+<span style="margin-left: 1em;">Water Used in Boston, 79</span><br />
+&ldquo;Flats,&rdquo; 3<br />
+Flues. Floor-beams and, 146<br />
+Floor. Beams and Flues, 146<br />
+<span class="ditto2"> &ldquo; </span>The Schneider Fireproof, 158<br />
+Font in St. Peter Mancroft, 62<br />
+Forth Bridge Issue of &ldquo;<i>Engineering</i>,&rdquo; 177<br />
+<span style="margin-left: 1em;">&ldquo;<span class="ditto3"> &ldquo; </span>Testing the, 160</span><br />
+Fortifications. Ancient Egyptian, 179<br />
+<span class="ditto5"> &ldquo; </span> Assyrian, 179<br />
+<span class="ditto5"> &ldquo; </span> Greek, 179<br />
+<span class="ditto5"> &ldquo; </span> Modern, 195<br />
+<span class="ditto5"> &ldquo; </span> Roman, 180<br />
+Foundation of Dry &ldquo;Concrete.&rdquo; A, 113<br />
+Foundations. A New Process of Preparing, 160<br />
+France. Architectural Education in, 162<br />
+Frederick the Great&#8217;s Tomb, 144<br />
+Freestone-Cutters. Lock-out among Boston, 161, 177<br />
+Fremiet&#8217;s Figure of Cond&eacute;, 76<br />
+French Architects. Proposed Licensing of, 162<br />
+<span style="margin-left: 1em;">&ldquo;<span class="ditto5"> &ldquo; </span>The Responsibility of, 2</span><br />
+Frost on Stone. The Action of, 98<br />
+Funerary Architecture, 99, 115, 131, 147, 163<br />
+</p>
+
+<p><a name="G" id="G"></a>
+Gallic Architecture, 52<br />
+Garnier&#8217;s History of Habitation, 149, 168<br />
+Gates for Cologne Cathedral. Bronze, 135<br />
+Geneva. The Brunswick Monument at, 16<br />
+German Building Contracts, 82<br />
+<span class="ditto2a"> &ldquo; </span> Construction, 155<br />
+Glass. The Duty on Window, 31<br />
+<span class="ditto2"> &ldquo; </span> The Salviati Murano, 207<br />
+<span class="ditto2"> &ldquo; </span> Lined Tubes for Underground Wires, 160<br />
+Grant Monument Competition. The, 145<br />
+Gravity Transit, 178<br />
+Great Wall of China. The, 19<br />
+Greek Architecture, 35<br />
+<span class="ditto2"> &ldquo; </span> Fortifications, 179<br />
+<span class="ditto2"> &ldquo; </span> Mouldings, 139<br />
+<span class="ditto2"> &ldquo; </span> Tombs, 131<br />
+&ldquo;Gods,&rdquo; Mexico. &ldquo;The City of the,&rdquo; 172<br />
+Gustavus Adolphus. Statue of, 74<br />
+Gutters on the Albany Capitol. Defective, 97<br />
+</p>
+
+
+<p><a name="H" id="H"></a>
+Habitation. History of, 149, 168<br />
+Halls. The Sizes of Some Large, 184<br />
+Hand <i>vs.</i> Machine Work, 108<br />
+Hawkesbury Railway Bridge. The, 106<br />
+Hawthorn Tree of Cawdor. The, 110<br />
+Hay Fuel, 159<br />
+Heat. Loss of Power by Radiation of, 22, 157<br />
+Heating by Hot-water, 33<br />
+Hindoo Architecture, 19<br />
+<span class="ditto2a"> &ldquo; </span> Tombs, 148<br />
+History of Habitation, 149, 168<br />
+Horse in Sculpture. The, 72, 170<br />
+Hot-water Heating, 33<br />
+Hotel. A Paper, 160<br />
+<span class="ditto2"> &ldquo; </span> at the Pyramids. A, 160<br />
+House of St. Simon, Angoul&ecirc;me, 61<br />
+Houses for Workingmen, 105<br />
+Hungary. Railway Zones in, 178<br />
+Hydraulic Power in London, 155<br />
+<span class="ditto3"> &ldquo; </span> Pressure. Rocks Upheaved by, 26<br />
+Hypogea, 115<br />
+</p>
+
+<p><a name="I" id="I"></a>
+Ice for Domestic Use, 34<br />
+<span style="margin-left: 0.5em;">&ldquo;&nbsp; Skating-rink. An Artificial, 145</span><br />
+<span style="margin-left: 0.5em;">&ldquo;&nbsp; The Power of, 118</span><br />
+Illinois Chapter A.I.A. The, 182<br />
+Incomes of Architects. The, 1, 47, 127<br />
+India-rubber Paving, 192<br />
+Industrial Museum. The Berlin, 174<br />
+Inspection of Buildings in New York, 31<br />
+<span class="ditto3"> &ldquo; </span><span class="ditto1"> &ldquo; </span> School-houses. State, 129<br />
+Insurance. A Question of, 18, 146<br />
+<span class="ditto3a"> &ldquo; </span> and Electricity, 79<br />
+<span class="ditto3a"> &ldquo; </span> and Safe Building, 49, 97<br />
+<span class="ditto3a"> &ldquo; </span> Company. Annual Report of Boston Manufacturers Mutual Fire, 177<br />
+<span class="ditto3a"> &ldquo; </span> Companies and Building Construction. The, 49, 97<br />
+Interiors. Photographing, 96<br />
+International Edition. Our, 17, 18, 65<br />
+Iron and its Treatment for Artistic Purposes. Cast, 201<br />
+</p>
+
+
+<p><a name="J" id="J"></a>
+Japanese Collections at the Boston Art Museum. The, 192<br />
+Jewels in Burmese Temples, 58<br />
+Jewish Architecture, 20<br />
+Judean Tombs, 117<br />
+</p>
+
+
+<p><a name="K" id="K"></a>
+Keely, Architect. Death of Charles, 18<br />
+Kirby&#8217;s Drawings. Mr. H. P., 107<br />
+</p>
+
+
+<p><a name="L" id="L"></a>
+Labor Syndicates. Contract-taking, 194<br />
+<span class="ditto2"> &ldquo; </span> Troubles, 130, 161, 177, 193<br />
+Lamp-post Directory. A, 98<br />
+Land Values in Milwaukee, 160<br />
+&ldquo;Lantern of the Dead.&rdquo; The, 164<br />
+Laths. A Corner in, 192<br />
+Lead-pencils, 178<br />
+League Exhibition. The Architectural, 40, 57, 143<br />
+Lecl&egrave;re Prize. The Achille, 50<br />
+<span class="smcap">Legal</span>:&mdash;<br />
+<span style="margin-left: 1em;">Alterations and Old Material, 109</span><br />
+<span style="margin-left: 1em;">Boston Building Laws. The, 109</span><br />
+<span style="margin-left: 1em;">Commission on a Standing Party-wall, 142</span><br />
+<span style="margin-left: 1em;">Compensation for Designs, 31</span><br />
+<span style="margin-left: 1em;">Competitor&#8217;s Suit against a Building-committee. A, 104</span><br />
+<span style="margin-left: 1em;">Contracts. Importance of Written, 65</span><br />
+<span style="margin-left: 1em;">Dismissal. Right of, 158</span><br />
+<span style="margin-left: 1em;">Libel Suit between Architects. A, 206</span><br />
+<span style="margin-left: 1em;">Lien Law. The New Rhode Island, 113</span><br />
+<span style="margin-left: 1em;">Owner&#8217;s Right to Build. An, 97</span><br />
+<span style="margin-left: 1em;">Responsibility of Architects. The, 2, 130</span><br />
+<span style="margin-left: 1em;">Suit against a Railroad. An Architect&#8217;s, 194</span><br />
+<span style="margin-left: 1em;">&ldquo;Trolley&rdquo; System. Decision against the, 128</span><br />
+<span style="margin-left: 1em;">Understanding between Architect and Client, 159</span><br />
+<span style="margin-left: 1em;">Van Beers Suits. The, 80</span><br />
+Leighton on a Device of Spanish Architecture. Sir Frederick, 146<br />
+<span class="smcap">Letters from</span>:&mdash;<br />
+<span style="margin-left: 1em;">Australia, 106, 183</span><br />
+<span style="margin-left: 1em;">Boston, 190</span><br />
+<span style="margin-left: 1em;">Canada, 41, 104, 182</span><br />
+<span style="margin-left: 1em;">Chicago, 118, 182</span><br />
+<span style="margin-left: 1em;">London, 42, 104</span><br />
+<span style="margin-left: 1em;">New York, 108</span><br />
+<span style="margin-left: 1em;">Paris, 21, 105, 185</span><br />
+<span style="margin-left: 1em;">Philadelphia, 197</span><br />
+<span style="margin-left: 1em;">Washington, 43, 186</span><br />
+Libel-suit between Architects. A, 206<br />
+Licensing of Architects. The, 162<br />
+Lien Law. The New Rhode Island, 113<br />
+Light-house at Houstholm. The, 88<br />
+Lighting Effects. Picturesque Interior, 146<br />
+Lime in Architect&#8217;s Specifications, 161<br />
+Lock-out among Boston Freestone-Cutters, 161, 177<br />
+Locomotive. A New Style of, 82<br />
+Locrian Town. The Site of a, 16<br />
+<span class="smcap">London</span>:&mdash;<br />
+<span style="margin-left: 1em;">British Museum. Electric-light at the, 104</span><br />
+<span style="margin-left: 1em;">County Council. The, 104</span><br />
+<span style="margin-left: 1em;">Houses for Workingmen, 105</span><br />
+<span style="margin-left: 1em;">Hydraulic Power. The Distribution of, 155</span><br />
+<span style="margin-left: 1em;">Letters from, 42, 104</span><br />
+<span style="margin-left: 1em;">National Portrait Gallery. The New, 208</span><br />
+<span style="margin-left: 1em;">Prize-men of the R.I.B.A., 104</span><br />
+<span style="margin-left: 1em;">St. Saviour&#8217;s, Southwark, 43</span><br />
+<span style="margin-left: 1em;">Subways for. Proposed, 43</span><br />
+<span style="margin-left: 1em;">Tower Bridge. The, 192</span><br />
+<span style="margin-left: 1em;">Waterhouse&#8217;s Annual Address before the R.I.B.A. Mr., 42</span><br />
+<span style="margin-left: 1em;">Watkin Tower. The, 16, 105</span><br />
+Lottery. Church Restoring by, 128<br />
+Louis XIV. Equestrian Statues of, 170<br />
+Lowell City-hall Contracts. The, 194<br />
+</p>
+
+
+<p><a name="M" id="M"></a>
+Machine-work. Hand <i>vs.</i>, 103<br />
+Magnesia Coverings for Steam-pipes, 23, 157<br />
+Manual Training-school Pupils, 96<br />
+Marble and Freestone Cutters, 161<br />
+<span class="ditto2a"> &ldquo; </span> Beryt or Fluid, 160<br />
+Marcus Curtius. Statue of, 172<br />
+Massachusetts. State Inspection of School-houses in, 129<br />
+Master-builders&#8217; Attempt to Discipline Architects. The Philadelphia, 161<br />
+Mausoleums, 133<br />
+Maximilian at Innsbruck. Tomb of, 61<br />
+Maximilian I. Statue of, 76<br />
+Maya. Temples of Ancient, 204<br />
+McAlpine, Civil Engineer. Death of, W. J., 129<br />
+McArthur, Jr., Architect. Death of John, 33<br />
+<span class="ditto3a"> &ldquo; </span><span class="ditto1"> &ldquo; </span> The Late John, 48<br />
+Medi&aelig;val Architecture, 52, 67<br />
+<span class="ditto3a"> &ldquo; </span> Cemeteries, 164<br />
+<span class="ditto3a"> &ldquo; </span> Tombs, 163<br />
+Mesopotamia. Explorations in, 160<br />
+Metal. A new Composite, 93<br />
+Mexican Congressional Palace. The Proposed, 96<br />
+<span class="ditto3"> &ldquo; </span> Pyramids, 172<br />
+Mexico. A Titian &ldquo;Entombment&rdquo; in, 60<br />
+<span class="ditto3"> &ldquo; </span> &ldquo;The City of the Gods,&rdquo; 172<br />
+Milan Cathedral. The Completion of, 130<br />
+Military Architecture, 179, 195<br />
+Mill-construction. Improvements in, 177<br />
+Millet&#8217;s &ldquo;Angelus,&rdquo; 12<br />
+Milwaukee. Land Values in, 160<br />
+Missouri State Association of Architects, 46<br />
+Modern Fortifications, 195<br />
+<span class="ditto2a"> &ldquo; </span> Tombs, 166<br />
+Monolithic Church of St. Emilion, 16<br />
+Mons. The Cathedral of, 114<br />
+Monument to the Emperor William. National, 32<br />
+<span class="ditto3a"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Prison-ship Martyrs, 128<br />
+Monuments. Equestrian, 72, 170<br />
+<span class="ditto4a"> &ldquo; </span> Funerary, 99, 115, 131, 147, 163<br />
+<span class="ditto4a"> &ldquo; </span> New York, 151<br />
+Mosaic. The Salviati, 208<br />
+Mouldings. Greek, 139<br />
+Mud-docks at Vizagapatam, 63<br />
+Mummy Cats. Egyptian, 208<br />
+Munich. The Royal Polytechnicum at, 181<br />
+Museum of Fine Arts, Boston. The, 175, 190<br />
+<span class="ditto3"> &ldquo; </span> The Cost of a small, 23<br />
+Mussulman Architecture, 52<br />
+</p>
+
+
+<p><a name="N" id="N"></a>
+Naples. Heavy Rains at, 95<br />
+National Portrait Gallery, London. The New, 208<br />
+Natural-gas Supply. The, 32<br />
+Neutral Axis. To Find the, 111<br />
+New South Wales Institute of Architects. Quarrel in the, 183<br />
+<span class="smcap">New York</span>:&mdash;<br />
+<span style="margin-left: 1em;">Architectural League Exhibition, 40, 57, 143</span><br />
+<span style="margin-left: 1em;">Architecture. Color in, 108</span><br />
+<span style="margin-left: 1em;">Barye Exhibition. The, 10</span><br />
+<span style="margin-left: 1em;">City-hall Park. The, 138</span><br />
+<span style="margin-left: 1em;">East River Tunnel. The, 178</span><br />
+<span style="margin-left: 1em;">Episcopal Cathedral Competition. The, 40, 62</span><br />
+<span style="margin-left: 1em;">Inspection of Buildings in, 31</span><br />
+<span style="margin-left: 1em;">Letters from, 108</span><br />
+<span style="margin-left: 1em;">Monuments, 151</span><br />
+<span style="margin-left: 1em;">Obelisk. The Protection of the, 178, 207</span><br />
+<span style="margin-left: 1em;">Paintings at the Barye Exhibition, 11</span><br />
+<span style="margin-left: 1em;">Tenement-houses, 89, 119</span><br />
+Newark Architectural Sketch-Club, 30<br />
+Northwestern University. The Buildings of the, 118<br />
+Nun. A Written Contract Necessary even when Dealing with a, 65<br />
+</p>
+
+
+<p><a name="O" id="O"></a>
+Oak-trees built into Chimney-walls, 146<br />
+<span class="ditto3a"> &ldquo; </span> Warfare on, 10<br />
+<span class='pagenum'><a name="Page_v" id="Page_v">[Pg&nbsp;v]</a></span>
+Obelisk. Protection of the New York, 198, 207<br />
+<span class="smcap">Obituary</span>:&mdash;<br />
+<span style="margin-left: 1em;">Andr&eacute;. Jules, Architect, 145</span><br />
+<span style="margin-left: 1em;">Brentano. Signor, Architect, 130</span><br />
+<span style="margin-left: 1em;">Clark. George, Architect, 63</span><br />
+<span style="margin-left: 1em;">Durand. George F., Architect, 1</span><br />
+<span style="margin-left: 1em;">Keely. Charles, Architect, 18</span><br />
+<span style="margin-left: 1em;">McAlpine. W. J., Civil Engineer, 129</span><br />
+<span style="margin-left: 1em;">McArthur, Jr. John, Architect, 33</span><br />
+<span style="margin-left: 1em;">Oudinot. Eug&egrave;ne, Glass-stainer, 81</span><br />
+<span style="margin-left: 1em;">Roberts. E. L., Architect, 177</span><br />
+<span style="margin-left: 1em;">Sidel. Edouard, Architect, 113</span><br />
+<span style="margin-left: 1em;">Wells. Joseph M., Architect, 95</span><br />
+Office. A Chicago Architect&#8217;s, 50<br />
+Ontario Association of Architects, 41<br />
+Open-fireplace Throat. The, 159<br />
+Oriental Textiles at Berlin, 175<br />
+<span class="ditto2a"> &ldquo; </span> Tombs, 148<br />
+Oudinot, Glass-stainer. Death of Eug&egrave;ne, 81<br />
+Owner&#8217;s Right to Build. An, 97<br />
+</p>
+
+
+<p><a name="P" id="P"></a>
+Paint for Underground Work. A Cheap, 146<br />
+Painting on Cemented Surfaces, 146<br />
+Paintings at the Barye Exhibition, 11<br />
+<span class="ditto2"> &ldquo; </span> <span class="ditto1"> &ldquo; </span> <span class="ditto1"> &ldquo; </span> Boston Art Museum, 191<br />
+Palace of San Giorgio, Genoa, 64<br />
+Paper Hotel. A, 160<br />
+Paraffine Process used on the Egyptian Obelisk. The, 178, 207<br />
+<span class="smcap">Paris</span>:&mdash;<br />
+<span style="margin-left: 1em;">Bourse du Commerce. The New, 185</span><br />
+<span style="margin-left: 1em;">Bull-fights in, 130</span><br />
+<span style="margin-left: 1em;">Bull-ring Proposed for. A, 50</span><br />
+<span style="margin-left: 1em;">Halle au Bl&eacute;. The, 185</span><br />
+<span style="margin-left: 1em;">Lamp-post Directory. A, 98</span><br />
+<span style="margin-left: 1em;">Letters from, 21, 105, 185</span><br />
+<span style="margin-left: 1em;">Model School-house. A, 82</span><br />
+<span style="margin-left: 1em;">Peabody Homes in, 56</span><br />
+<span style="margin-left: 1em;">Plasterers, 94</span><br />
+<span style="margin-left: 1em;"><i>Salons.</i> The Proposed two, 80</span><br />
+<span style="margin-left: 1em;">Skating-rink. An Artificial Ice, 145</span><br />
+<span class="smcap">Paris Exposition</span>:&mdash;<br />
+<span style="margin-left: 1em;">Algerian Pavilion at the, 105</span><br />
+<span style="margin-left: 1em;">Buildings of the, 21, 105</span><br />
+<span style="margin-left: 1em;">Cairo Street at the, 105</span><br />
+<span style="margin-left: 1em;">Cochin-Chinese Pavilion at the, 106</span><br />
+<span style="margin-left: 1em;">Colonial Sections at the, 105</span><br />
+<span style="margin-left: 1em;">Double Statue at the, 32</span><br />
+<span style="margin-left: 1em;">Forestry Pavilion at the, 105</span><br />
+<span style="margin-left: 1em;">History of Habitation at the, 149, 168</span><br />
+<span style="margin-left: 1em;">Indian Pavilion at the, 105</span><br />
+<span style="margin-left: 1em;">Palaces of Liberal and Fine Arts, 21</span><br />
+<span style="margin-left: 1em;">Pavilions at the. The City of Paris, 21</span><br />
+<span style="margin-left: 1em;">Portuguese Pavilion at the, 105</span><br />
+<span style="margin-left: 1em;">Sanitary Exhibits at the, 21</span><br />
+<span style="margin-left: 1em;">Spanish Pavilion at the, 105</span><br />
+<span style="margin-left: 1em;">Tunisian Pavilion at the, 106</span><br />
+<span style="margin-left: 1em;">Views of Old Paris at the, 21</span><br />
+Pavement. India-rubber, 192<br />
+Pavements. Cast-iron, 192<br />
+Paving. Asphalt, 82<br />
+Peabody Homes in Paris, 56<br />
+Pencils. Lead, 178<br />
+Persian Court Art, 16<br />
+<span class="ditto2a"> &ldquo; </span> Tombs, 117<br />
+<span class="smcap">Philadelphia</span>:&mdash;<br />
+<span style="margin-left: 1em;">Architectural Exhibition at the Art Club, 146</span><br />
+<span style="margin-left: 4em;">&ldquo;<span class="ditto5"> &ldquo; </span> at the Penn. Academy, 107</span><br />
+<span style="margin-left: 1em;">Chapter, A.I.A., 46</span><br />
+<span style="margin-left: 1em;">Letters from, 107</span><br />
+<span style="margin-left: 1em;">Master-builders&#8217; Attempt to Discipline Architects. The, 161</span><br />
+<span style="margin-left: 1em;">T-Square Club, 206</span><br />
+Ph&oelig;nician Architecture, 20<br />
+<span class="ditto3a"> &ldquo; </span> Tombs, 117<br />
+Photographing Interiors, 96<br />
+Pirating Sculpture, 160<br />
+Planning of School-buildings. The, 81<br />
+Plaster-of-Paris and Marshmallow, 48<br />
+Plasterers. Paris, 94<br />
+Plate-glass. Protecting, 8<br />
+<span class="ditto4"> &ldquo; </span> Works Convention. The, 176<br />
+Pneumatic Street Railroad. A, 95<br />
+Polytechnicum at Munich. The Royal, 181<br />
+Polytechnique. The Zurich, 154<br />
+Power in London. Hydraulic, 155<br />
+<span class="ditto2"> &ldquo; </span> Lost by Radiation of Heat, 22, 156<br />
+Prehistoric Ruins of Yucatan. The, 58<br />
+Prints. Arranging Architectural, 207<br />
+Prison-ship Martyrs&#8217; Monument. The, 128<br />
+Prize-winners. The R.I.B.A., 104<br />
+Profit-sharing. A Contractor&#8217;s, 2, 43<br />
+Protecting Building Stone, 98<br />
+Public Buildings in Canada. Proposed, 104<br />
+Pueblo Indians and the Works of the Rio Grande Irrigation Co. The, 63<br />
+Pyramids, 100<br />
+<span class="ditto3"> &ldquo; </span> A Hotel at the, 160<br />
+<span class="ditto3"> &ldquo; </span> Mexican, 172<br />
+</p>
+
+
+<p><a name="Q" id="Q"></a>
+Quebec City-hall Competition. The, 63<br />
+Queen of Greece and an Electric-wire. The, 128<br />
+</p>
+
+
+<p><a name="R" id="R"></a>
+Radiation of Heat. Loss of Power by, 22, 156<br />
+Railroad. A Pneumatic Street, 95<br />
+<span class="ditto3"> &ldquo; </span> An Architect&#8217;s Suit against a, 194<br />
+Railway Bridge. The Hawkesbury, 106<br />
+<span class="ditto2a"> &ldquo; </span> Zones in Hungary, 178<br />
+Railways. Electric, 64, 111, 128<br />
+Rains at Naples. Heavy, 95<br />
+Rantzau. Statuette of Marshal, 76<br />
+Rapid Transit for Chicago, 182<br />
+Ravenna. The Early Christian Tombs at, 147<br />
+Reading-light for Railways. Electric, 50<br />
+Registration of Architects in Canada. The, 183<br />
+Renaissance Architecture, 69<br />
+<span class="ditto4"> &ldquo; </span> Tombs, 165<br />
+Report of Boston Manufacturers Mutual Fire Insurance Company. Annual, 177<br />
+<span class="ditto2a"> &ldquo; </span> The Bureau of Ethnology&#8217;s Fifth Annual, 151<br />
+Reputation of Architects. The Influence of Architectural Journals on the, 17<br />
+Residence in Various Countries. Concentrated, 88, 119<br />
+Responsibility of Architects. The, 2, 130<br />
+Revising Bids. The Right of, 194<br />
+Rhode Island Lien Law. The New, 113<br />
+Richardson, H. H., 145<br />
+Rio Janeiro. The Sewage of, 156<br />
+Roberts, Architect. Death of E. L., 177<br />
+Rock. The Dighton, 93<br />
+Rocks Upheaved by Hydraulic Pressure, 26<br />
+Roman Architecture, 36, 51<br />
+<span class="ditto2a"> &ldquo; </span> Catholic Buildings in Australia, 107<br />
+<span class="ditto2a"> &ldquo; </span> Fortifications, 180<br />
+<span class="ditto2a"> &ldquo; </span> Tombs, 133<br />
+Romanesque Tombs, 163<br />
+<span class="smcap">Rome</span>:&mdash;<br />
+<span style="margin-left: 1em;">Castle of St. Angelo. The, 208</span><br />
+<span style="margin-left: 1em;">Vandalism in, 79</span><br />
+<span style="margin-left: 1em;">Vatican Museum. The, 208</span><br />
+<span style="margin-left: 1em;">Viaduct in. Discovery of an Ancient, 80</span><br />
+Rotting. To Prevent Wood from, 146<br />
+Royal Institute of British Architects. Prize-winners, 104<br />
+Ruskin and His Work. John, 49<br />
+</p>
+
+
+<p><a name="S" id="S"></a>
+Safe Building, 121, 135, 197<br />
+St. Alban&#8217;s Abbey. The Restoration of, 42<br />
+<span style="margin-left: 0.5em;">&ldquo;&nbsp; Angelo, Rome. The Castle of, 208</span><br />
+<span style="margin-left: 0.5em;">&ldquo;&nbsp; Clair River Tunnel. The, 128</span><br />
+<span style="margin-left: 0.5em;">&ldquo;&nbsp; Emilion. The Monolithic Church of, 16</span><br />
+<span style="margin-left: 0.5em;">&ldquo;&nbsp; Louis Academy of Music. Fall of, 66</span><br />
+<span style="margin-left: 0.5em;">&ldquo;&nbsp;<span class="ditto1a"> &ldquo; </span> Chapter, A.I.A., 206</span><br />
+<span style="margin-left: 0.5em;">&ldquo;&nbsp; Regulus Church. St. Andrews, 45</span><br />
+<span style="margin-left: 0.5em;">&ldquo;&nbsp; Salvator&#8217;s Church, St. Andrews, 46</span><br />
+<span style="margin-left: 0.5em;">&ldquo;&nbsp; Saviour&#8217;s, Southwark. The Restoration of, 43</span><br />
+<span style="margin-left: 0.5em;">&ldquo;&nbsp; Sebald. Restoring the Church of, 128</span><br />
+<i>Salons</i>. The Proposed Two, 80<br />
+Salviati. Death of Dr., 208<br />
+Sandstone. The Structure of, 9<br />
+Sandy Foundations, 160<br />
+<span class="smcap">Sanitary</span>:&mdash;<br />
+<span style="margin-left: 1em;">Concentrated Residence in Various Countries, 88, 119</span><br />
+<span style="margin-left: 1em;">Dessication of the Dead, 25</span><br />
+<span style="margin-left: 1em;">Entombment, 24</span><br />
+<span style="margin-left: 1em;">Exhibits at the Paris Exposition, 21</span><br />
+<span style="margin-left: 1em;">Inspection of New York Buildings, 31</span><br />
+<span style="margin-left: 1em;">Sewage of Rio Janeiro. The, 156</span><br />
+<span style="margin-left: 1em;">Tenement-houses, 88, 119</span><br />
+<span style="margin-left: 1em;">Ventilation of School-buildings, 82, 129</span><br />
+Sarcophagi, 163<br />
+Scaffold Accidents, 104<br />
+Scandinavian Art, 37, 53, 63<br />
+Schliemann <i>vs.</i> Dr. Botticher. Dr., 144<br />
+Schmiedbarenguss, 93<br />
+Schneider Fireproof Floor. The, 158<br />
+Scholar. Our Travelling. 153, 181<br />
+School-buildings. The Planning of, 81<br />
+<span class="ditto2a"> &ldquo; </span> House at Evanston, Ill. A, 118<br />
+<span class="ditto2a"> &ldquo; </span> <span class="ditto2"> &ldquo; </span> The Model, 82<br />
+<span class="ditto2a"> &ldquo; </span> Houses. Books on, 207<br />
+<span class="ditto2a"> &ldquo; </span> <span class="ditto2a"> &ldquo; </span> The Ventilation of 82, 129<br />
+Sculpture and Architecture, 7<br />
+<span class="ditto3a"> &ldquo; </span> Pirating, 160<br />
+<span class="ditto3a"> &ldquo; </span> The Horse in, 72, 170<br />
+Sewage of Rio Janeiro. The, 156<br />
+Sgraffito-work, 154<br />
+Shades and Shadows. Architectural, 56<br />
+Sidel, Architect. Death of Edouard, 113<br />
+Skating-rink in Paris. An Artificial-Ice, 145<br />
+Slater Memorial Museum. The, 23<br />
+Slow-burning Construction, 29, 97<br />
+Soldiers&#8217; Home at Washington. The, 143<br />
+South America. Architects in, 18<br />
+Spanish Architecture. A Device of, 146<br />
+Specifications Should be <i>Specific</i>. Good, 161<br />
+&ldquo;Spectator&rdquo; on the Underwriters&#8217; Interest in Building. The, 49<br />
+Spires, Towers and Domes, 91, 101<br />
+Sprinklers in Mills. Automatic, 177<br />
+Stand-pipes and the Underwriters, 49<br />
+State Architect. The New York, 206<br />
+Statue Giving a Double Image, 32<br />
+<span class="ditto2"> &ldquo; </span> of the Emperor Frederick. A, 208<br />
+Steam-pipes and Woodwork, 48<br />
+<span class="ditto4a"> &ldquo; </span> Coverings for, 22, 156<br />
+Steel Company&#8217;s Works near Baltimore. The Pennsylvania, 188<br />
+Stel&aelig;, 99, 115<br />
+Stevens, Sculptor. Alfred, 201, 203<br />
+Stockholm. An American Elevator in, 111<br />
+Stones. The Decay of Building, 98<br />
+Straightening Walls, 22<br />
+Strasbourg Cathedral, 153<br />
+<span class="ditto4"> &ldquo; </span> University, 154<br />
+Stray Thoughts for Young Architects, 90<br />
+Strikes and Lockouts. Threatened, 130<br />
+Styles. Changes of Architectural, 108<br />
+Subterranean Tombs, 115, 147<br />
+Suburban Building in Chicago, 132<br />
+Subways in London. Proposed, 43<br />
+Suspension-bridges. Chinese, 96<br />
+Swedish Penalties for Bad Building, 72<br />
+Syndicate. Proposed Contracting, 81<br />
+Syndicates. Contract-taking Labor, 191<br />
+</p>
+
+
+<p><a name="T" id="T"></a>
+Tapestries at Berlin. Exhibition of Textiles and, 174<br />
+Tariff on Works of Art. The, 18<br />
+Taxation of Roman Catholic Property in Montreal. The Exemption from, 42<br />
+Technical College. The Berlin, 140<br />
+Temples of Ancient Maya, 204<br />
+Tenement-houses, 88, 119<br />
+Teotihuacan, Mexico, 172<br />
+Testing the Forth Bridge, 160<br />
+Textiles and Tapestries at Berlin. Exhibition of, 174<br />
+Thirty Year&#8217;s War. The, 72<br />
+Thoughts for Young Architects. Stray, 90<br />
+Titian &ldquo;Entombment&rdquo; in Mexico. A, 60<br />
+Tobacco in England. The first Use of, 110<br />
+Tomb. Cleopatra&#8217;s, 141<br />
+<span class="ditto2a"> &ldquo; </span> Frederick the Great&#8217;s, 144<br />
+<span class="ditto2a"> &ldquo; </span> of Cecilia Metella, 134<br />
+<span class="ditto2a"> &ldquo; </span>&nbsp;&ldquo;&nbsp; Maximilian at Innsbruck, 61<br />
+<span class="smcap">Tombs</span>:&mdash;<br />
+<span style="margin-left: 1em;">Assyrian, 116</span><br />
+<span style="margin-left: 1em;">Egyptian, 99, 115</span><br />
+<span style="margin-left: 1em;">Etruscan, 131</span><br />
+<span style="margin-left: 1em;">Greek, 131</span><br />
+<span style="margin-left: 1em;">Hindoo, 148</span><br />
+<span style="margin-left: 1em;">Judean, 117</span><br />
+<span style="margin-left: 1em;">Medi&aelig;val, 163</span><br />
+<span style="margin-left: 1em;">Modern, 166</span><br />
+<span style="margin-left: 1em;">Oriental, 148</span><br />
+<span style="margin-left: 1em;">Persian, 117</span><br />
+<span style="margin-left: 1em;">Ph&oelig;nician, 117</span><br />
+<span style="margin-left: 1em;">Renaissance, 165</span><br />
+<span style="margin-left: 1em;">Roman, 133</span><br />
+<span style="margin-left: 1em;">Romanesque, 163</span><br />
+<span style="margin-left: 1em;">Subterranean, 115, 147</span><br />
+<span class="smcap">Toronto</span>:&mdash;<br />
+<span style="margin-left: 1em;">Architectural Sketch-Club, 142</span><br />
+<span style="margin-left: 1em;">Burning of the University. The, 182</span><br />
+<span style="margin-left: 1em;">Proposed Improvements in, 42</span><br />
+Tower for the Exhibition of 1892. High, 177<br />
+<span class="ditto2"> &ldquo; </span> The Watkin, 16, 105<br />
+Towers and Domes. Spires, 91, 101<br />
+Towns. The Laying-out of, 184<br />
+Tracy&#8217;s House. The Fire in Secretary, 186<br />
+Trade Surveys, 16, 32, 48, 64, 80, 96, 112, 128, 144, 160, 176, 192, 208<br />
+Trades-unions, 193<br />
+Training-school Pupils, 96<br />
+Traps. Evaporation of Water in, 15<br />
+Travelling-Scholar. Our, 153, 181<br />
+&ldquo;Trolley&rdquo; System. Decision against the, 128<br />
+T-Square Club, Philadelphia. The, 206<br />
+Tumuli. Celtic, 99<br />
+Tunnel. The East River, 178<br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto2"> &ldquo; </span> St. Clair River, 128</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto2"> &ldquo; </span> Washington Aqueduct, 103</span><br />
+</p>
+
+
+<p><a name="U" id="U"></a>
+Underground Wires. Glass-lined Tubes for, 160<br />
+<span class="ditto5"> &ldquo; </span> Work. A Cheap Paint for, 146<br />
+Understanding between Architect and Client. The, 159<br />
+Underwriter&#8217;s Interest in Building. The <i>Spectator</i> on the, 49<br />
+Undermining. Well-sinking by, 98<br />
+University. Strasbourg, 154<br />
+Uxmal, 204<br />
+</p>
+
+
+<p><a name="V" id="V"></a>
+Van Beers. The Artist Jan, 80<br />
+Vandalism in Rome, 79<br />
+Vane in Burmah. A Jewelled, 58<br />
+Vatican. Art at the, 208<br />
+Ventilating Wooden Columns, 31<br />
+Ventilation of School-buildings, 82, 129<br />
+Verplanck Homestead. The, 26<br />
+Viaduct in Rome. Discovery of an Ancient, 80<br />
+Vikings. The Art of the, 37, 53<br />
+</p>
+
+
+<p><a name="W" id="W"></a>
+Walking Delegate. The Power of a, 193<br />
+Wall. Collapse of a Retaining, 113<br />
+Walls. Straightening, 22<br />
+Walnut Logs, 192<br />
+Warren&#8217;s Sketches at the League Exhibition. Mr., 57, 143<br />
+<span class="smcap">Washington</span>:&mdash;<br />
+<span style="margin-left: 1em;">Aqueduct Tunnel. The, 103</span><br />
+<span style="margin-left: 1em;">Building in. Recent and Future, 44</span><br />
+<span style="margin-left: 1em;">Chapter, A.I.A., 43</span><br />
+<span style="margin-left: 1em;">Letters from, 43, 186</span><br />
+<span style="margin-left: 1em;">Railroad. A Pneumatic Street, 95</span><br />
+<span style="margin-left: 1em;">Soldiers&#8217; Home Building. The, 143</span><br />
+<span style="margin-left: 1em;">Tracy&#8217;s House. The Fire in Secretary, 186</span><br />
+Water-color Drawings. Architectural, 107<br />
+<span class="ditto4a"> &ldquo; </span> Painting. Books on, 31<br />
+Waterhouse&#8217;s Annual Address before the R.I.B.A. Mr., 42<br />
+Water-power. A Remarkable, 47<br />
+<span class="ditto2"> &ldquo; </span> supply of London. The, 156<br />
+<span class="ditto2"> &ldquo; </span> used in Boston Fires, 79<br />
+Watkin Tower. The, 16, 105<br />
+Wattle-tree. The, 10<br />
+Welding. Electric, 176<br />
+Well-sinking by Undermining, 98<br />
+Wells, Architect. Death of Joseph M., 95<br />
+White House. The <i>American Architect</i> Travelling-scholarship Design for a new, 158<br />
+Whitewash. Fireproof, 208<br />
+Will. The Power of the, 112<br />
+William of Orange. Statue of, 74<br />
+Wood from Rotting. To Prevent, 146<br />
+&ldquo;Working-day.&rdquo; A Fifteenth-century, 155<br />
+Working-drawings, 63<br />
+World&#8217;s Fair. The Chicago, 177, 182<br />
+</p>
+
+
+<p><a name="Y" id="Y"></a>
+Yucatan. Ancient Temples of, 204<br />
+<span class="ditto3"> &ldquo; </span> Exploring Expedition. A New, 112<br />
+<span class="ditto3"> &ldquo; </span> Ruins and Works of Art in, 58<br />
+</p>
+
+
+<p><a name="Z" id="Z"></a>
+Zones in Hungary. Railway, 178<br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_vi" id="Page_vi">[Pg&nbsp;vi]</a></span></p>
+<h2><a name="ILLUSTRATIONS" id="ILLUSTRATIONS"></a>ILLUSTRATIONS.</h2>
+
+<p class="center">[<i>The figures refer to the number of the journal, and not to the page.</i>]</p>
+
+
+<p><b>DETAILS.</b></p>
+
+<p>
+Old Iron and Brasswork at Providence, R.I., 737<br />
+Renaissance Doorways, Toulouse, France, 737<br />
+</p>
+
+
+<p><b>DWELLINGS.</b></p>
+
+<p>
+Balveny Castle, Scotland, 735<br />
+Block of Houses for E. K. Greene, Kearney, Neb. Frank, Bailey &amp; Farmer, Architects, 741<br />
+Cottage at Tuxedo, N.Y.  Renwick, Aspinwall &amp; Russell, Architects, 744<br />
+<span class="ditto2a"> &ldquo; </span> for Dr. T. H. Willard, Jr., Greenville, N.Y. Adolph Haak, Architect, 737<br />
+House at Malden, Mass. Chamberlin &amp; Whidden, Architects, 738<br />
+<span class="ditto2"> &ldquo; </span>&nbsp;&ldquo;&nbsp; Rochester, N.Y. W. C. Walker, Architect, 736<br />
+<span class="smcap">House of</span>:&mdash;<br />
+<span style="margin-left: 1em;">J. R. Burnett, Orange, N.J.&nbsp; F. W. Beall, Architect, 743</span><br />
+<span style="margin-left: 1em;">C. H. Elmendorff, Kearney, Neb. Frank, Bailey &amp; Farmer, Architects, 737</span><br />
+<span style="margin-left: 1em;">C. De Lacey Evan, Ruxton, Md. E. G. W. Dietrich, Architect, 734</span><br />
+<span style="margin-left: 1em;">Geo. W. Frank, Kearney, Neb. Frank, Bailey &amp; Farmer, Architects, 743</span><br />
+<span style="margin-left: 1em;">Capt. Jesse H. Freeman, Brookline, Mass. W. A. Rodman, Architect, 738</span><br />
+<span style="margin-left: 1em;">Prof. C. E. Hart, New Brunswick, N.J. H. R. Marshall, Archt., 736</span><br />
+<span style="margin-left: 1em;">J. H. Howe, Rochester, N.Y. Nolan Bros., Architects, 736</span><br />
+<span style="margin-left: 1em;">Julius Howells, Chicago, Ill. Wm. H. Pfau, Architect, 740</span><br />
+<span style="margin-left: 1em;">A. H. Stem, Minnetonka Beach, Minn. A. H. Stem, Architect, 741</span><br />
+<span style="margin-left: 1em;">W. S. Wells, Newport, R.I. G. E. Harding &amp; Co., Architects, 736</span><br />
+<span style="margin-left: 1em;">Albert Will, Rochester, N.Y. Otto Block, Architect, 735</span><br />
+Houses for Potter Palmer, Chicago, Ill. C. M. Palmer, Architect, 735<br />
+<span class="ditto2"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Dr. A. Wharton, St. Paul, Minn. A. H. Stem, Architect, 739<br />
+Netley Corners, Minneapolis, Minn. J. C. Plant, Architect, 744<br />
+Premises of G. G. Booth, Detroit, Mich. Mason &amp; Rice, Architects, 740<br />
+Suggestion for the Executive Mansion by Theodore F. Laist. Successful Design for the American Architect Travelling-Scholarship.<br />
+Workman&#8217;s Dwelling-house on the Cohesive System, 739<br />
+</p>
+
+
+<p><b>ECCLESIASTICAL.</b></p>
+
+<p>
+Aberbrothwick Abbey, Arbroath, Scotland, 732<br />
+Baptist Church, Gardiner, Me. Stevens &amp; Cobb, Architects, 737<br />
+Cathedral of St. Machar, Aberdeen, Scotland, 733<br />
+Chapel, St. Paul&#8217;s School, Concord, N.H. Henry Vaughan, Architect, 742<br />
+Competitive Design for First Baptist Church, Malden, Mass. Lewis &amp; Phipps, Architects, 740<br />
+<span class="smcap">Competitive Design for the</span>:&mdash;<br />
+<span style="margin-left: 1em;">Cathedral of St. John the Divine, New York, N.Y.</span><br />
+<span style="margin-left: 2em;">Glenn Brown, Architect, 732</span><br />
+<span style="margin-left: 2em;">Cram &amp; Wentworth, Architects, 738 (<i>Imp.</i>)</span><br />
+<span style="margin-left: 2em;">B. G. Goodhue, Architect, 738 (<i>Imp.</i>)</span><br />
+<span style="margin-left: 2em;">J. R. Rhind, Architect, 743 (<i>Imp.</i>)</span><br />
+Congregational Church, Wakefield, Mass. Hartwell &amp; Richardson, Architects, 744<br />
+Dalmeny Church, Linlithgow, Scotland, 743 (<i>Imp.</i>)<br />
+Design for Presbyterian Church, Memphis, Tenn. W. Albert Swasey, Architect, 742<br />
+First Baptist Church, Elmira, N.Y. Pierce &amp; Dockstader, Architects, 739<br />
+Memorial &ldquo;Church of the Angels,&rdquo; Los Angeles, Cal. E. A. Coxhead, Architect, 733<br />
+St. Augustine Roman Catholic Church Buildings, Brooklyn, N.Y. Parfitt Bros., Architects, 733<br />
+<span class="ditto1"> &ldquo; </span> Luke&#8217;s Church, Mansfield, O. W. G. Preston, Architect, 744<br />
+<span class="ditto1"> &ldquo; </span> Regulus&#8217;s Church, St. Andrews, Scotland, 734 (<i>Imp.</i>)<br />
+<span class="ditto1"> &ldquo; </span> Salvator&#8217;s Church, St. Andrews, Scotland, 734 (<i>Imp.</i>)<br />
+Sketch for a Church. Edward Stotz, Architect, 742<br />
+Throop Ave. Presbyterian Church, Brooklyn, N.Y. Fowler &amp; Hough, Architects, 742<br />
+</p>
+
+
+<p><b>EDUCATIONAL.</b></p>
+
+<p>
+High School, Cambridge, Mass. Chamberlin &amp; Austin, Architects, 743<br />
+<span style="margin-left: 1em;">&ldquo;<span class="ditto3"> &ldquo; </span> Los Angeles, Cal. J. N. Preston &amp; Son, Architects, 738</span><br />
+School-house, Lewiston, Me. Geo. F. Coombs, Architect, 735<br />
+University, Strasbourg, Germany. Prof. Worth, Architect, 741<br />
+</p>
+
+
+<p><b>FOREIGN.</b></p>
+
+<p>
+Aberbrothwick Abbey, Arbroath, Scotland, 732<br />
+Balveny Castle, Scotland, 735<br />
+Cathedral of St. Machar, Aberdeen, Scotland, 733<br />
+Central Dome of Exhibition Buildings, Paris, France, 740<br />
+Dalmeny Church, Linlithgow, Scotland, 743 (<i>Imp.</i>)<br />
+Hall, Craigievar Castle, Aberdeen, Scotland, 743 (<i>Imp.</i>)<br />
+Renaissance Doorways, Toulouse, France, 737<br />
+St. Regulus&#8217;s Church, St. Andrews, Scotland, 734 (<i>Imp.</i>)<br />
+<span style="margin-left: 0.5em;">&ldquo;&nbsp; Salvator&#8217;s Church, St. Andrews, Scotland, 734 (<i>Imp.</i>)</span><br />
+Tower, St. Etienne du Mont, Paris, France, 737<br />
+Town Hall, Sydney, N.S.W., 743<br />
+University, Strasbourg, Germany. Prof. Worth, Architect, 741<br />
+</p>
+
+
+<p><b>HOTELS.</b></p>
+
+<p>
+Alicia Springs Hotel, Pennfield, Pa. E. Culver, Architect, 738<br />
+Hotel de Soto, Savannah, Ga. W. G. Preston, Architect, 733<br />
+Sketch for Hotel at Norton, Va. Geo. T. Pearson, Architect, 734<br />
+</p>
+
+
+<p><b>INTERIORS.</b></p>
+
+<p>
+Hall, Craigievar Castle, Aberdeen, Scotland, 743 (<i>Imp.</i>)<br />
+<span class="ditto1a"> &ldquo; </span> in House of W. R. Ray, Los Angeles, Cal. W. Redmore Ray, Architect, 740<br />
+Sitting-room in House of J. H. Howe, Rochester, N.Y. Nolan Bros., Architects, 736<br />
+</p>
+
+
+<p><b>MERCANTILE.</b></p>
+
+<p>
+Anniston City Land Co. Building, Anniston, Ala. Chisolm &amp; Green, Architects, 734<br />
+Building for the Boston Real Estate Trust. Cabot, Everett &amp; Mead, Architects, 744<br />
+Design for an Office-building, Boston, Mass. C. H. Blackall, Archt., 734<br />
+Factory Building, on the Cohesive System, 739<br />
+Sketch of Store, Boston, Mass. Wait &amp; Cutter, Architects, 732<br />
+</p>
+
+
+<p><b>MISCELLANEOUS.</b></p>
+
+<p>
+Alcove Sleeping-car, 742<br />
+Heads of Mexican Gods, 742<br />
+Vault, Greenwood Cemetery, Brooklyn, N.Y. Renwick, Aspinwall &amp; Russell, Architects, 744<br />
+</p>
+
+
+<p><b>PUBLIC.</b></p>
+
+<p>
+Central Dome of Exhibition Buildings, Paris, France, 740<br />
+Town-hall, East Providence, R.I. W. K. Walker &amp; Son, Architects, 738<br />
+<span class="ditto3a"> &ldquo; </span> Sydney, N.S.W., 743<br />
+</p>
+
+
+<p><b>RAILROAD.</b></p>
+
+<p>
+Competitive Designs for Railroad-stations, by the Rochester Architectural Sketch Club, 738<br />
+</p>
+
+
+<p><b>STABLES.</b></p>
+
+<p>
+Sketch of Stable, Paterson, N.J. C. Edwards, Architect, 735<br />
+</p>
+
+
+<p><b>TOWERS AND SPIRES.</b></p>
+
+<p>
+Tower, St. Etienne du Mont, Paris, France, 737<br />
+<span class="ditto2a"> &ldquo; </span> Sketched from the Competitive Design of C. B. Atwood, Architect, for the New City-hall, New York, N.Y., 736<br />
+Town Clock-tower. Designed by Willis Polk, Architect, 736<br />
+</p>
+
+
+<p><b>BARONIAL AND ECCLESIASTICAL ANTIQUITIES OF SCOTLAND.</b></p>
+
+<p>
+Aberbrothwick Abbey, 732<br />
+Balveny Castle, 735<br />
+Castle Campbell, 739 (<i>Int.</i>)<br />
+Cawdor Castle, 738 (<i>Int.</i>)<br />
+Craigievar Castle, 743 (<i>Imp.</i>)<br />
+Dalmeny Church, 743 (<i>Imp.</i>)<br />
+St. Machar&#8217;s Cathedral, 733<br />
+<span style="margin-left: 0.5em;">&ldquo;&nbsp; Regulus&#8217;s Church, 734 (<i>Imp.</i>)</span><br />
+<span style="margin-left: 0.5em;">&ldquo;&nbsp; Salvator&#8217;s Church, 734 (<i>Imp.</i>)</span><br />
+</p>
+
+
+<p><b>ROTCH SCHOLARSHIP DRAWINGS.</b></p>
+
+<p>[<i>Published only in the Imperial and International Editions.</i>]</p>
+
+<p>
+Angers Cathedral, 734 (<i>Imp.</i>)<br />
+Catania, 734 (<i>Imp.</i>)<br />
+N&ocirc;tre Dame, Poitiers, 734 (<i>Imp.</i>)<br />
+Pierrefonds, 734 (<i>Imp.</i>)<br />
+St. Ours, Loches, 731 (<i>Imp.</i>)<br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="ILLUSTRATIONS_INTERNATIONAL_EDITION" id="ILLUSTRATIONS_INTERNATIONAL_EDITION"></a>ILLUSTRATIONS.&mdash;INTERNATIONAL EDITION.</h2>
+
+<p class="center">[<i>The figures refer to the number of the journal and not to the page.</i>]</p>
+
+
+<p><b>COLORED PRINTS.</b></p>
+
+<p>[<i>Published only in the Imperial and International Editions.</i>]</p>
+
+<p>
+Detail of Entrance, Osborn Hall, New Haven, Conn. Bruce Price, Architect, 744 (<i>Imp.</i>)<br />
+House of W. A. Burnham, Boston, Mass. E. C. Curtis, Archt., 739 (<i>Imp.</i>)<br />
+Ruined Chapel of Charles V, Yuste, Spain, 732<br />
+Street View in Dinan, France, 736<br />
+Torre del Vino, Alhambra, Granada, Spain, 732<br />
+U.S. Trust Co.&#8217;s Building, New York, N.Y. R. W. Gibson, Architect, 734  (<i>Imp.</i>)<br />
+</p>
+
+
+<p><b>DETAILS.</b></p>
+
+<p>
+Capitals from Chamber of Commerce, Cincinnati, O. H. H. Richardson and Shepley, Rutan &amp; Coolidge, <i>Successors</i>, Architects, 740 (<i>Gel.</i>)<br />
+Detail of Entrance, Osborn Hall, New Haven, Conn. Bruce Price, Architect, 744 (<i>Gel.</i>)<br />
+Entrance, Holcombe, Chatham, Eng. John Belcher, Architect, 739<br />
+Font and Canopy, St. Peter, Mancroft, Norwich, Eng. Frank T. Baggallay, Architect, 735<br />
+House-gable on Taubenstrasse, Berlin, Germany. Herr Holst, Architect, 742 (<i>Gel.</i>)<br />
+Piers of the Cathedral Portico, Lucca, Italy, 739 (<i>Gel.</i>)<br />
+Porte Coch&egrave;re, Paris, France, 744 (<i>Gel.</i>)<br />
+Portico, Ecole de Medicine, Paris, France, 741 (<i>Gel.</i>)<br />
+Window in Grisaille Glass. W. R. Lethaby, Designer, 740<br />
+Wrought-iron Gates, Chelmsford, Eng.,  732<br />
+</p>
+
+
+<p><b>DWELLINGS.</b></p>
+
+<p>
+A Country House. Horace R. Appelbee, Architect, 732<br />
+Black Knoll, Brockenhurst, Eng. R. T. Blomfield, Architect, 742<br />
+Butler&#8217;s Wood, Chislehurst, Eng. Ernest Newton, Architect, 733<br />
+Castle Campbell, Clackmannan, Scotland, 739<br />
+Cawdor Castle, Nairn, Scotland, 738<br />
+Ch&acirc;teau de Josselin, Morbihan, France, 733 (<i>Gel.</i>)<br />
+Coombe Warren, Kingston, England. George Devey, Architect, 732, 734<br />
+Folkton Manor House, Eng. E. J. May, Architect, 743<br />
+Hall Place, Tonbridge, Eng. George Devey, Architect, 741<br />
+Holcombe, Chatham, Eng. John Belcher, Architect, 735, 738<br />
+House at Exeter, Eng. James Crocker, Architect, 733<br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1"> &ldquo; </span> Goring-on-Thames, Eng. Geo. W. Webb, Architect, 740</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1"> &ldquo; </span> Tunbridge Wells, Eng. George Devey, Architect, 741</span><br />
+House-gable on Taubenstrasse, Berlin, Germany. Herr Holst, Archt., 742 (<i>Gel.</i>)<br />
+House, James St., Buckingham Gate, London, Eng. R. T. Blomfield, Architect, 742<br />
+<span class="ditto2a"> &ldquo; </span> near Birmingham, Eng. Essex &amp; Nicol, Architects, 743<br />
+<span class="smcap">House of</span>:&mdash;<br />
+<span style="margin-left: 1em;">J. Benic, Karlstadt, Austria. Hans Pruckner, Architect, 743 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1em;">Mrs. Charles Blake, Boston, Mass. Sturgis &amp; Cabot, Archts., 732 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1em;">Charles F. Brush, Cleveland, O. George H. Smith, Archt., 742 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1em;">W. A. Burnham, Boston, Mass. E. C. Curtis, Architect, 739 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1em;">Mrs. Consino, Santiago, Chili, 733, 734</span><br />
+<span style="margin-left: 1em;">Se&ntilde;or Cuda, Santiago, Chili, 740 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1em;">Mrs. S. T. Everett, Cleveland, O. C. F. &amp; J. A. Schweinfurth, Architects,&nbsp; 735 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1em;">Herr Hatner, Buda-Pesth, Austria. Alfred Wellisch, Archt., 744 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1em;">Mrs. T. T. Haydock, Cincinnati, O. J. W. McLaughlin, Archt., 743 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1em;">Edwin Long, R.A., Hampstead, Eng. R. Norman Shaw, Architect, 744</span><br />
+<span style="margin-left: 1em;">Mr. McKenna, Santiago, Chili, 740 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1em;">E. D. Pearce, Providence, R.I. Rotch &amp; Tilden, Architects, 740</span><br />
+<span style="margin-left: 1em;">G. M. Smith, Providence, R.I. Stone, Carpenter &amp; Willson, Architects, 733 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1em;">St. Simon, Angoul&ecirc;me, France, 735</span><br />
+House on the Rauchstrasse, Berlin, Germany. Kaiser &amp; Grossheim, Archts., 741 (<i>Gel.</i>)<br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Yorkstrasse, Berlin, Germany. Herr Rintz, Architect, 744 (<i>Gel.</i>)</span><br />
+Mill Pond Farm, Cranbrook, Eng. M. E. Macartney, Architect, 743<br />
+Official Residence of the Intendente, Santiago, Chili, 734<br />
+Palace of Count Pallavicini, Vienna, Austria. Herr Von Hohenberg, Architect, 743 (<i>Gel.</i>)<br />
+Residence of the Former Viceroy of the Province, Santiago, Chili, 738 (<i>Gel.</i>)<br />
+Semi-detached Houses, Ripon, Eng. T. Butler Wilson, Architect, 740<br />
+The Gables, Felixstowe, Eng. William A. Thorp, Architect, 740<br />
+Vicarage, Tweedmouth, Eng. F. R. Wilson, Architect, 744<br />
+Villa Blanca, near Innsbruck, Austria. J. W. Deininger, Archt., 740 (<i>Gel.</i>)<br />
+</p>
+
+
+<p><b>ECCLESIASTICAL.</b></p>
+
+<p>
+All Saints&#8217; Church, Leek, Eng. R. Norman Shaw, Architect, 735<br />
+<span style="margin-left: 0.5em;">&ldquo;<span class="ditto2a"> &ldquo; </span><span class="ditto2a"> &ldquo; </span> London, Eng. Christopher &amp; White, Architects, 743</span><br />
+Cathedral, Quimper, France, 742 (<i>Gel.</i>)<br />
+Chapel of St. Mary of Nazareth, Edgware, Eng. James Brooks, Architect, 736<br />
+Church of All Saints, Falmouth, Eng. J. D. Sedding, Archt., 737<br />
+<span style="margin-left: 1.75em;">&ldquo;<span class="ditto1"> &ldquo; </span> St. John the Baptist, Reading, Eng. E. Prioleau Warren, Architect, 737</span><br />
+<span style="margin-left: 1.75em;">&ldquo;<span class="ditto1"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Martin, Seamer, Eng. C. Hodgson Fowler, Architect, 742</span><br />
+Cloister, Poblet, Spain, 737 (<i>Gel.</i>)<br />
+<span class="smcap">Competitive design for the</span>:&mdash;<br />
+<span style="margin-left: 1em;">Cathedral of St. John the Divine, New York, N.Y.</span><br />
+<span style="margin-left: 1em;">Edward C. Casey, Architect, 736</span><br />
+<span style="margin-left: 1em;">Stephen C. Earle, Architect, 736</span><br />
+<span style="margin-left: 1em;">John L. Faxon, Architect, 736</span><br />
+Design for a Village Church. Gerald C. Horsley, Architect, 740<br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1a"> &ldquo; </span> Church of the Good Shepherd, London, Eng. T. Phillips Figgis, Archt., 733</span><br />
+Episcopal Church, West Medford, Mass. H. H. Richardson, Archt., 737 (<i>Gel.</i>)<br />
+Font and Canopy, St. Peter Mancroft, Norwich, Eng. Frank T. Baggallay, Architect, 735<br />
+Interior of St. Paul Extra Muros, Rome, Italy, 734 (<i>Gel.</i>)<br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1a"> &ldquo; </span> the Cathedral, Albi, France, 734 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1a"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Hofkirche with Tomb of Maximilian I, Innsbruck, Austria, 735 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1a"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Recoletu Church, Santiago, Chili, 735 (<i>Gel.</i>)</span><br />
+Parish Room and School, Charleton, Devon, Eng. F. J. Commin, Architect, 739<br />
+Ruined Chapel of Charles V, Yuste, Spain, 732<br />
+Wesleyan Chapel, Leeds, Eng. T. Butler Wilson, Architect, 734<br />
+</p>
+
+
+<p><b>EDUCATIONAL.</b></p>
+
+<p>
+Board School, Bromley, Kent, Eng. Vacher &amp; Hellicar, Architects, 739<br />
+<span class="smcap">Competitive design for</span>:&mdash;<br />
+<span style="margin-left: 1em;">Gymnasium for Brown University, Providence, R.I.</span><br />
+<span style="margin-left: 2em;">Gould &amp; Angell, Architects, 741</span><br />
+<span style="margin-left: 2em;">Stone, Carpenter &amp; Willson, Architects, 741</span><br />
+Design for a Board School. Geo. W. Webb, Architect, 733<br />
+Old Fa&ccedil;ade, Ecole de Medecine, Paris, France, 741 (<i>Gel.</i>)<br />
+Osborn Hall, New Haven, Conn. Bruce Price, Architect, 741 (<i>Gel.</i>)<br />
+Parish Room and School, Charleton, Devon, Eng. F. J. Commin, Architect, 739<br />
+Swimming-bath and Gymnasium, Grocers&#8217; Company&#8217;s Schools, Hackney Downs, Eng. Henry C. Boyes, Architect, 736<br />
+</p>
+
+<p><span class='pagenum'><a name="Page_vii" id="Page_vii">[Pg&nbsp;vii]</a></span></p>
+<p><b>FOREIGN.</b></p>
+
+<p>
+All Saints&#8217; Church, Leek, Eng. R. Norman Shaw, Architect, 735<br />
+<span style="margin-left: 0.5em;">&ldquo;<span class="ditto2a"> &ldquo; </span><span class="ditto2a"> &ldquo; </span> London, Eng. Christopher &amp; White, Archts., 743</span><br />
+Arch of Septimus Severus, Rome, Italy, 734<br />
+Auditorium of the Palace of the Trocad&eacute;ro, Paris, France, 732 (<i>Gel.</i>)<br />
+&ldquo;Bargello,&rdquo; Florence, Italy. The, 734<br />
+Black Knoll, Brockenhurst, Eng. R. T. Blomfield, Architect, 742<br />
+Board School, Bromley, Kent, Eng. Vacher &amp; Hellicar, Architects, 739<br />
+Business Premises, London, Eng. Frederick Wallen, Architect. 738<br />
+Butler&#8217;s Wood, Chislehurst, Eng. Ernest Newton, Architect, 733<br />
+&ldquo;Ca&#8217; d&#8217;Oro,&rdquo; Venice, Italy. The, 734<br />
+Castle Campbell, Clackmannan, Scotland, 739<br />
+Cathedral, Quimper, France, 742 (<i>Gel.</i>)<br />
+Cawdor Castle, Nairn, Scotland, 738<br />
+Chapel of St. Mary of Nazareth, Edgware, Eng. James Brooks, Architect, 736<br />
+Ch&acirc;teau de Josselin, Morbihan, France, 733 (<i>Gel.</i>)<br />
+Church of All Saints, Falmouth, Eng. J. D. Sedding, Archt., 737<br />
+<span style="margin-left: 1.75em;">&ldquo;<span class="ditto1"> &ldquo; </span> St. John the Baptist, Reading, Eng. E. Prioleau Warren, Architect, 737</span><br />
+<span style="margin-left: 1.75em;">&ldquo;<span class="ditto1"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Martin, Seamer, Eng. C. Hodgson Fowler, Architect, 742</span><br />
+Clee Park Hotel, Grimsby, Eng. E. W. Farebrother, Architect, 738<br />
+Cloister, Poblet, Spain, 737 (<i>Gel.</i>)<br />
+Congress Hall and Chamber of Deputies, Santiago, Chili, 738 (<i>Gel.</i>)<br />
+Coombe Warren, Kingston, England. George Devey, Architect, 732<br />
+Corridor in House of Edwin Long, R.A., Hampstead, Eng. R. Norman Shaw, Architect, 744<br />
+Design for Church of the Good Shepherd, London, Eng. T. Phillips Figgis, Architect, 733<br />
+Dining-room, Coombe Warren, Kingston, Eng. George Devey, Archt., 734<br />
+Drawing-room, Holcombe, Chatham, Eng. John Belcher, Architect, 736<br />
+Entrance, Holcombe, Chatham, Eng. John Belcher, Architect, 739<br />
+Folkton Manor House, Eng. E. J. May, Architect, 743<br />
+Font and Canopy, St. Peter Mancroft, Norwich, Eng. Frank T. Baggallay, Architect, 735<br />
+Frome Union Offices, Frome, Eng. Drake &amp; Bryan, Architects, 744<br />
+Grand Hotel, Vienna, Austria. Carl Tietz, Architect, 741 (<i>Gel.</i>)<br />
+Hall, Castle Campbell, Clackmannan, Scotland. The, 739<br />
+<span class="ditto1a"> &ldquo; </span> Coombe House, near Shaftesbury, Eng. E. Towry White, Architect, 736<br />
+<span class="ditto1a"> &ldquo; </span> Holcombe, Chatham, Eng. The, 738<br />
+Hill Place, Tonbridge, Eng. George Devey, Architect, 741<br />
+Holcombe, Chatham, England. John Belcher, Architect, 733, 736<br />
+House at Exeter, Eng. James Crocker, Architect, 733<br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1"> &ldquo; </span> Goring-on-Thames, Eng. Geo. W. Webb, Architect, 740</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1"> &ldquo; </span> Tunbridge Wells, England. George Devey, Archt., 741</span><br />
+House-gable on Taubenstrasse, Berlin, Germany, 742 (<i>Gel.</i>)<br />
+House, James St., Buckingham Gate, London, Eng. R. T. Blomfield, Architect, 742<br />
+<span class="ditto2a"> &ldquo; </span> near Birmingham, Eng. Essex &amp; Nicol, Architects, 743<br />
+<span class="smcap">House of</span>:&mdash;<br />
+<span style="margin-left: 1em;">J. Benic, Karlstadt, Austria. Hans Pruckner, Architect, 743 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1em;">Mrs. Consino, Santiago, Chili, 733, 734</span><br />
+<span style="margin-left: 1em;">Se&ntilde;or Cuda, Santiago, Chili, 740 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1em;">Herr Hatner, Buda-Pesth, Austria. Alfred Wellisch, Archt., 744 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1em;">Edwin Long, R.A., Hampstead, Eng. R. Norman Shaw, Archt., 744</span><br />
+<span style="margin-left: 1em;">Mr. McKenna, Santiago, Chili, 740 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1em;">St. Simon, Angoul&ecirc;me, France, 735</span><br />
+House on the Rauchstrasse, Berlin, Germany. Kaiser &amp; Grossheim, Archts., 741 (<i>Gel.</i>)<br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Yorkstrasse, Berlin, Germany. Herr Rintz, Architect, 744 (<i>Gel.</i>)</span><br />
+Interior in the Ch&acirc;teau de Josselin, Morbihan, France, 732, 733 (<i>Gel.</i>)<br />
+<span style="margin-left: 1.5em;">&ldquo;&nbsp;&nbsp;&nbsp; of St. Paul Extra Muros, Rome, Italy, 734 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1a"> &ldquo; </span> the Cathedral, Albi, France, 734 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1a"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Hofkirche, with Tomb of Maximilian I, Innsbruck, Austria, 735 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1a"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Recoletu Church, Santiago, Chili, 735 (<i>Gel.</i>)</span><br />
+Italian Sketches, 734<br />
+Kitchen, Castello di Vincigliata, Italy. G. Fancelli, Architect, 735<br />
+&ldquo;Lloyds,&rdquo; Trieste, Austria. Baron Heinrich von Ferstel, Architect, 740 (<i>Gel.</i>)<br />
+Mill Pond Farm, Cranbrook, Eng. M. E. Macartney, Architect, 743<br />
+New Bourse du Commerce, Paris, France. H. Blondel, Architect, 735<br />
+<span class="ditto1a"> &ldquo; </span> Premises, Chester, Eng. T. M. Lockwood, Architect, 737<br />
+Official Residence of the Intendente, Santiago, Chili, 734<br />
+Old Fa&ccedil;ade, Ecole de Medecine, Paris, France, 741 (<i>Gel.</i>)<br />
+Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne, Paris, France, 743 (<i>Gel.</i>)<br />
+Palace of Count Pallavicini, Vienna, Austria. Herr Von Hohenberg, Architect, 743 (<i>Gel.</i>)<br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1a"> &ldquo; </span>the Liberal Arts, Paris, France. J. C. Formig&eacute;, Architect, 735</span><br />
+Parish Room and School, Charleton, Devon, Eng. F. J. Commin, Architect, 739<br />
+Piers of the Cathedral Portico, Lucca, Italy, 739 (<i>Gel.</i>)<br />
+Porte Coch&egrave;re, Paris, France, 744 (<i>Gel.</i>)<br />
+Portico, Ecole de Medecine, Paris, France, 741 (<i>Gel.</i>)<br />
+Railway Tavern, Grimsby, Eng. E. W. Farebrother, Architect, 738<br />
+Residence of the Former Viceroy of the Province, Santiago, Chili, 738 (<i>Gel.</i>)<br />
+Ruined Chapel of Charles V, Yuste, Spain, 732<br />
+Savings Bank, Linz, Austria. Austrian Building Co., Architects, 742 (<i>Gel.</i>)<br />
+Semi-detached Houses, Ripon, Eng. T. Butler Wilson, Architect, 740<br />
+Stables, Holcombe, Chatham, Eng. John Belcher, Architect, 739<br />
+Street View in Dinan, France, 736<br />
+<span style="margin-left: 1em;">&ldquo;<span class="ditto2"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Santiago, Chili, 736 (<i>Gel.</i>)</span><br />
+Swimming-bath and Gymnasium, Grocers&#8217; Company&#8217;s Schools, Hackney Downs, Eng. Henry C. Boyes, Architect, 736<br />
+Temples of Faustina and Romulus, Rome, Italy, 734<br />
+The Gables, Felixstowe, Eng. William A. Thorp, Architect, 740<br />
+Torre del Vino, Alhambra, Granada, Spain, 732<br />
+Vicarage, Tweedmouth, Eng. F. R. Wilson, Architect, 744<br />
+Villa Blanca, near Innsbruck, Austria. J. W. Deininger, Architect, 740 (<i>Gel.</i>)<br />
+Warehouse, Stockholm, Sweden. A. Egendomen, Architect, 735<br />
+Wesleyan Chapel, Leeds, Eng. T. Butler Wilson, Architect, 734<br />
+Wrought-iron Gates, Chelmsford, Eng., 732<br />
+</p>
+
+
+<p><b>GELATINE.</b></p>
+
+<p>[<i>Published only in the Imperial and International Editions.</i>]</p>
+
+<p>
+Auditorium of the Palace of the Trocad&eacute;ro, Paris, France, 732<br />
+Capitals from Chamber of Commerce, Cincinnati, O. H. H. Richardson and Shepley, Rutan &amp; Coolidge <i>Successors</i>, Architects, 740 (<i>Imp.</i>)<br />
+Cathedral, Quimper, France, 742<br />
+Ch&acirc;teau de Josselin, Morbihan, France, 733<br />
+Cloister, Poblet, Spain, 737<br />
+Congress Hall and Chamber of Deputies, Santiago, Chili, 738<br />
+Detail of Entrance, Osborn Hall, New Haven, Conn. Bruce Price, Architect, 744 (<i>Imp.</i>)<br />
+Entrance Hall in House of Prof. C. E. Hart, New Brunswick, N.J. H. R. Marshall, Architect, 736, (<i>Imp.</i>)<br />
+Episcopal Church, West Medford, Mass. H. H. Richardson, Archt., 737 (<i>Imp.</i>)<br />
+Grand Hotel, Vienna, Austria. Carl Tietz, Architect, 741<br />
+House-gable on Taubenstrasse, Berlin, Germany. Herr Holst, Archt., 742<br />
+<span class="smcap">House of</span>:&mdash;<br />
+<span style="margin-left: 1em;">J. Benic, Karlstadt, Austria. Hans Pruckner, Architect, 743</span><br />
+<span style="margin-left: 1em;">Mrs. Charles Blake, Boston, Mass. Sturgis &amp; Cabot, Archts., 732 (<i>Imp.</i>)</span><br />
+<span style="margin-left: 1em;">Charles F. Brush, Cleveland, O. George H. Smith, Archt., 742 (<i>Imp.</i>)</span><br />
+<span style="margin-left: 1em;">Se&ntilde;or Cuda, Santiago, Chili, 740</span><br />
+<span style="margin-left: 1em;">Mrs. S. T. Everett, Cleveland, O. C. F. &amp; J. A. Schweinfurth, Architects, 735 (<i>Imp.</i>)</span><br />
+<span style="margin-left: 1em;">Herr Hatner, Buda-Pesth, Austria. Alfred Wellisch, Architect, 744</span><br />
+<span style="margin-left: 1em;">Mrs. T. T. Haydock, Cincinnati, O. J. W. McLaughlin, Architect, 743 (<i>Imp.</i>)</span><br />
+<span style="margin-left: 1em;">Mr. McKenna, Santiago, Chili, 740</span><br />
+<span style="margin-left: 1em;">G. M. Smith, Providence, R.I. Stone, Carpenter &amp; Willson, Architects, 733 (<i>Imp.</i>)</span><br />
+House on the Rauchstrasse, Berlin, Germany. Kaiser &amp; Grossheim, Architects, 741<br />
+House on the Yorkstrasse, Berlin, Germany. Herr Rintz, Archt., 744<br />
+Interior in the Ch&acirc;teau de Josselin, Morbihan, France, 732, 733<br />
+<span style="margin-left: 1.5em;">&ldquo;&nbsp;&nbsp;&nbsp; of St. Paul Extra Muros, Rome, Italy, 734</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1a"> &ldquo; </span> the Cathedral, Albi, France, 734</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1a"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Hofkirche with Tomb of Maximilian I, Innsbruck, Austria, 735</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1a"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Recoletu Church, Santiago, Chili, 735</span><br />
+Interiors in House at Malden, Mass. Chamberlin &amp; Whidden, Architects, 738 (<i>Imp.</i>)<br />
+&ldquo;Lloyds,&rdquo; Trieste, Austria. Baron Heinrich von Ferstel, Architect, 740<br />
+Old Fa&ccedil;ade, Ecole de Medecine, Paris, France, 741<br />
+Osborn Hall, New Haven, Conn. Bruce Price, Architect, 741 (<i>Imp.</i>)<br />
+Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne, Paris, France, 743<br />
+Palace of Count Pallavicini, Vienna, Austria. Herr Von Hohenberg, Architect, 743<br />
+Piers of the Cathedral Portico, Lucca, Italy, 739<br />
+Porte Coch&egrave;re, Paris, France, 744<br />
+Portico, Ecole de Medecine, Paris, France, 741<br />
+Residence of the Former Viceroy of the Province, Santiago, Chili, 738<br />
+Savings Bank, Linz, Austria. Austrian Building Co., Architects, 742<br />
+Street View in Santiago, Chili, 736<br />
+Villa Blanca, near Innsbruck, Austria. J. W. Deininger, Architect, 740<br />
+</p>
+
+
+<p><b>HOTELS.</b></p>
+
+<p>
+Clee Park Hotel, Grimsby, Eng. E. W. Farebrother, Architect, 738<br />
+Grand Hotel, Vienna, Austria. Carl Tietz, Architect, 741 (<i>Gel.</i>)<br />
+Railway Tavern, Grimsby, Eng. E. W. Farebrother, Architect, 738<br />
+</p>
+
+
+<p><b>INTERIORS.</b></p>
+
+<p>
+Auditorium of the Palace of the Trocad&eacute;ro, Paris, France, 732 (<i>Gel.</i>)<br />
+Church of All Saints, Falmouth, Eng. J. D. Sedding, Archt., 737<br />
+<span style="margin-left: 1.75em;">&ldquo;<span class="ditto1"> &ldquo; </span> St. Martin, Seamer, Eng. C. Hodgson Fowler, Architect, 742</span><br />
+Corridor in House of Edwin Long, R.A., Hampstead, Eng. R. Norman Shaw, Architect, 744<br />
+Dining-room, Coombe Warren, Kingston, Eng. George Devey, Archt., 734<br />
+Drawing-room, Holcombe, Chatham, Eng. John Belcher, Archt., 736<br />
+Entrance Hall in House of Prof. C. E. Hart, New Brunswick, N.J. H. R. Marshall, Architect, 736 (<i>Gel.</i>)<br />
+Hall, Castle Campbell, Clackmannan, Scotland. The, 739<br />
+<span class="ditto1a"> &ldquo; </span> Coombe House, near Shaftesbury, Eng. E. Towry White, Architect, 736<br />
+<span class="ditto1a"> &ldquo; </span> Holcombe, Chatham, Eng. John Belcher, Architect, 738<br />
+Interior in the Ch&acirc;teau de Josselin, Morbihan, France, 732, 733 (<i>Gel.</i>)<br />
+<span style="margin-left: 1.5em;">&ldquo;&nbsp;&nbsp;&nbsp; of All Saints&#8217; Church, Leek, Eng. R. Norman Shaw, Architect, 735</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1a"> &ldquo; </span> St. Paul Extra Muros, Rome, Italy, 734 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1a"> &ldquo; </span> the Cathedral, Albi, France, 734 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1a"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Hofkirche with Tomb of Maximilian I, Innsbruck, Austria, 735 (<i>Gel.</i>)</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto1a"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Recoletu Church, Santiago, Chili, 735 (<i>Gel.</i>)</span><br />
+Interiors in House at Malden, Mass. Chamberlin &amp; Whidden, Architects, 738 (<i>Gel.</i>)<br />
+Kitchen, Castello di Vincigliata, Italy. G. Fancelli, Architect, 735<br />
+Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne, Paris, France, 743 (<i>Gel.</i>)<br />
+Swimming-bath and Gymnasium, Grocers&#8217; Company&#8217;s Schools, Hackney Downs, Eng. Henry C. Boyes, Architect, 736<br />
+</p>
+
+
+<p><b>MERCANTILE.</b></p>
+
+<p>
+Business Premises, London, England. Frederick Wallen, Architect, 738<br />
+&ldquo;Lloyds,&rdquo; Trieste, Austria. Baron Heinrich von Ferstel, Architect, 740 (<i>Gel.</i>)<br />
+New Premises, Chester, Eng. T. M. Lockwood, Architect, 737<br />
+Savings Bank, Linz, Austria. Austrian Building Co., Archts., 742 (<i>Gel.</i>)<br />
+U.S. Trust Co.&#8217;s Building, New York, N.Y. R. W. Gibson, Architect, 734 (<i>Gel.</i>)<br />
+Warehouse, Stockholm, Sweden. A. Egendomen, Architect, 735<br />
+</p>
+
+
+<p><b>MISCELLANEOUS.</b></p>
+
+<p>
+Historical Figures from the Lord Mayor&#8217;s Procession, 732<br />
+Italian Sketches, 734<br />
+&ldquo;Lion and Serpent.&rdquo; A. L. Barye, Sculptor, 732<br />
+New Year&#8217;s Day in the Olden Time, 735<br />
+Norwich, from the Cromer Road, by John Sell Cotman, 742<br />
+Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne, Paris, France, 743 (<i>Gel.</i>)<br />
+Sketches in Normandy, by Herbert Railton, 739<br />
+Street View in Dinan, France, 736<br />
+<span style="margin-left: 1em;">&ldquo;<span class="ditto2"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Santiago, Chili, 736 (<i>Gel.</i>)</span><br />
+Swimming-bath and Gymnasium, Grocers&#8217; Company&#8217;s Schools, Hackney Downs, Eng. Henry C. Boyes, Architect, 736<br />
+Winter, from a Painting by Nicolas Lancret, 741<br />
+</p>
+
+
+<p><b>MONUMENTAL.</b></p>
+
+<p>
+Interior of the Hofkirche with Tomb of Maximilian I, Innsbruck, Austria, 735 (<i>Gel.</i>)<br />
+</p>
+
+
+<p><b>PUBLIC.</b></p>
+
+<p>
+Congress Hall and Chamber of Deputies, Santiago, Chili, 738 (<i>Gel.</i>)<br />
+Frome Union Offices, Frome, England. Drake &amp; Bryan, Architects, 744<br />
+New Bourse du Commerce, Paris, France. H. Blondel, Architect, 735<br />
+Palace of the Liberal Arts, Paris, France. J. C. Formig&eacute;, Archt., 735<br />
+</p>
+
+
+<p><b>STABLES.</b></p>
+
+<p>
+Stables, Holcombe, Chatham, England. John Belcher, Architect, 739<br />
+</p>
+
+
+<p><b>TOWERS AND SPIRES.</b></p>
+
+<p>
+Torre del Vino, Alhambra, Granada, Spain, 732<br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="TEXT_CUTS" id="TEXT_CUTS"></a>TEXT CUTS.</h2>
+
+<p class="center">[<i>These figures refer to the page of text, not to the plates.</i>]</p>
+
+
+<p>
+Arch at Naples, 77<br />
+Axe-head, 89<br />
+Bracteates, 53, 54<br />
+Capitals, 60, 91, 94, 156<br />
+Cartoon for Sgraffito, 3<br />
+Centennial Hall, Sydney, 184<br />
+Chair from Khorsabad, 72<br />
+<span class="smcap">Civil &amp; Domestic Architecture</span>:&mdash;<br />
+<span style="margin-left: 1em;">Basilica. A Roman, 51</span><br />
+<span style="margin-left: 1em;">Baths of Caracalla. Plan of, 36</span><br />
+<span style="margin-left: 1em;">Colonnade of the Louvre, Paris, 70</span><br />
+<span style="margin-left: 1em;">Foscari Palace, Venice, 68</span><br />
+<span style="margin-left: 1em;">Fountain, Place Stanislas, Nancy, 85</span><br />
+<span style="margin-left: 1em;">Garde-Meuble, Paris, 83</span><br />
+<span style="margin-left: 1em;">Gare d&#8217;Orl&eacute;ans, Paris, 88</span><br />
+<span style="margin-left: 1em;">Halle au Bl&eacute;, Paris, 83, 84</span><br />
+<span style="margin-left: 1em;">Halles Centrales, Paris, 87, 88</span><br />
+<span style="margin-left: 1em;">H&ocirc;tel de Ville, Brussels, 67</span><br />
+<span style="margin-left: 2em;">&ldquo;<span class="ditto1a"> &ldquo; </span><span class="ditto1a"> &ldquo; </span>Paris, 69</span><br />
+<span style="margin-left: 2em;">&ldquo;<span class="ditto1a"> &ldquo; </span><span class="ditto1a"> &ldquo; </span>St. Antonin, France, 51</span><br />
+<span style="margin-left: 2em;">&ldquo;&nbsp;&nbsp; des Invalides, Paris, 70, 71</span><br />
+<span style="margin-left: 1em;">Library of St. Genevi&egrave;ve, Paris, 87</span><br />
+<span style="margin-left: 1em;">Mint, Paris. The, 83</span><br />
+<span style="margin-left: 1em;">Monument of Lysicrates, 35</span><br />
+<span style="margin-left: 1em;">Od&eacute;on, Paris. The, 84</span><br />
+<span style="margin-left: 1em;">Op&eacute;ra-House, Paris, 86</span><br />
+<span style="margin-left: 1em;">Palazzo Vecchio, Florence, 67</span><br />
+<span style="margin-left: 1em;">Place Stanislas, Nancy, 85</span><br />
+<span style="margin-left: 1em;">Procurazie Nuove, Venice, 68</span><br />
+<span style="margin-left: 1em;">Strozzi Palace, Florence, 70</span><br />
+<span style="margin-left: 1em;">Theatre of Herculaneum, 51</span><br />
+<span style="margin-left: 1em;">Tower of the Winds, 36</span><br />
+Copper-plates from Etowah Mound, 153<br />
+&ldquo;Dance,&rdquo; Paris Op&eacute;ra-House. Carpeaux&#8217;s, 101<br/>
+Doorway, Newport, R.I., 28<br />
+Doorways. Carved Church, 38, 39<br />
+Dormer, 58<br />
+Entrance, Stokesay Castle, 155<br />
+Equestrian Designs, 72, 170<br />
+<span class="smcap">Equestrian Monuments</span>:&mdash;<br />
+<span style="margin-left: 1em;">Cond&eacute;. The Great, 76</span><br />
+<span style="margin-left: 1em;">Louis XIV, 170, 171</span><br />
+<span style="margin-left: 1em;">Gustavus Adolphus, 73</span><br />
+<span style="margin-left: 1em;">Maximilian I, 74</span><br />
+<span style="margin-left: 1em;">Marcus Curtius, 170</span><br />
+<span style="margin-left: 1em;">Marshal Rantzau, 76</span><br />
+<span style="margin-left: 1em;">William of Orange, 72</span><br />
+Fibula, 54<br />
+<span class="smcap">Funerary Architecture</span>:&mdash;<br />
+<span style="margin-left: 1em;">Absalom&#8217;s Tomb, 116</span><br />
+<span style="margin-left: 1em;">Campo Santo at Genoa, 167</span><br />
+<span style="margin-left: 2em;">&ldquo;&nbsp; &nbsp;  &ldquo;&nbsp;  &ldquo;&nbsp; Pisa, 164</span><br />
+<span style="margin-left: 1em;">Catacombs, 147</span><br />
+<span style="margin-left: 1em;">Celtic Tumuli, 99</span><br />
+<span style="margin-left: 1em;">Egyptian Tombs, 100</span><br />
+<span style="margin-left: 1em;">Etruscan Tombs, 131</span><br />
+<span style="margin-left: 1em;">Hypogea, 115</span><br />
+<span style="margin-left: 1em;">Mausoleum of Taghlak, 148</span><br />
+<span style="margin-left: 1em;">Medi&aelig;val Tombs, 163</span><br />
+<span style="margin-left: 1em;">Mougheir Tombs, 115</span><br />
+<span style="margin-left: 1em;">Ph&oelig;nician Tombs, 116</span><br />
+<span style="margin-left: 1em;">Pyramids. The, 100</span><br />
+<span style="margin-left: 1em;">Roman Cippus, 134</span><br />
+<span style="margin-left: 2em;"><span class="ditto1"> &ldquo; </span> Columbarium, 134</span><br />
+<span style="margin-left: 2em;"><span class="ditto1"> &ldquo; </span> Funerary Urn, 134</span><br />
+<span class='pagenum'><a name="Page_viii" id="Page_viii">[Pg&nbsp;viii]</a></span>
+<span style="margin-left: 1em;">Sepulchral Chapel at Paris, 167</span><br />
+<span style="margin-left: 1em;">Stel&aelig;, 116</span><br />
+<span style="margin-left: 1em;">Tomb at Montmorency, 166</span><br />
+<span style="margin-left: 1em;">Tomb at Palmyra, 134</span><br />
+<span style="margin-left: 1em;">Tomb at Pompeii, 133</span><br />
+<span style="margin-left: 1em;">Tomb in S. Maria del Popolo, Rome, 165</span><br />
+<span style="margin-left: 1em;">Tomb of</span><br />
+<span style="margin-left: 2em;">Louis de Br&eacute;z&eacute;, Rouen, 165</span><br />
+<span style="margin-left: 2em;">Cecilia Metella, Rome, 132</span><br />
+<span style="margin-left: 2em;">Hadrian, 132, 133</span><br />
+<span style="margin-left: 2em;">Louis XII, St. Denis, 164</span><br />
+<span style="margin-left: 2em;">Mazarin, Paris, 166</span><br />
+<span style="margin-left: 2em;">Nakschi Roustam, 117</span><br />
+<span style="margin-left: 2em;">Paul III, Rome, 166</span><br />
+<span style="margin-left: 2em;">St. Stephen, Obazine, 163</span><br />
+<span style="margin-left: 2em;">Marshal Saxe, Strasbourg, 167</span><br />
+<span style="margin-left: 2em;">Theodoric, Ravenna, 147</span><br />
+<span style="margin-left: 1em;">Tombs at Mycen&aelig;, 131</span><br />
+<span style="margin-left: 1em;">Tombs at Telmissus and Theron, 131</span><br />
+<span style="margin-left: 1em;">Tombs in India, 148</span><br />
+<span style="margin-left: 1em;">Tombs in Judea and Asia Minor, 117</span><br />
+<span style="margin-left: 1em;">Tomb of the Caliphs at Cairo, 148</span><br />
+<span style="margin-left: 1em;">Urn Containing Heart of Francis I, 164</span><br />
+George Inn, Norton, Eng., 44<br />
+Hall in House of J. H. Howe, Rochester, N.Y. Nolan Bros., Architects, 78<br />
+Hinge. Wrought-iron, 135<br />
+<span class="smcap">History of Habitation</span>:&mdash;<br />
+<span style="margin-left: 1em;">Aztec Dwelling. An, 169</span><br />
+<span style="margin-left: 1em;">Byzantine House, 151</span><br />
+<span style="margin-left: 1em;">Egyptian House, 150</span><br />
+<span style="margin-left: 1em;">Etruscan House, 168</span><br />
+<span style="margin-left: 1em;">Gallo-Roman House, 150</span><br />
+<span style="margin-left: 1em;">Hebrew House, 169</span><br />
+<span style="margin-left: 1em;">Inca Dwelling, 149</span><br />
+<span style="margin-left: 1em;">Pelasgian Hut, 149</span><br />
+<span style="margin-left: 1em;">Ph&oelig;nician House, 168</span><br />
+Horns. Golden, 55, 56<br />
+House of A. A. Carey, Cambridge, Mass. Sturgis &amp; Brigham, Architects, 23<br />
+Impost, 50<br />
+Martyrs Column, Naples, Italy, 22<br />
+<span class="smcap">Military Architecture</span>:&mdash;<br />
+<span style="margin-left: 1em;">Arch of Austria. The Louvre, 195</span><br />
+<span style="margin-left: 1em;">Assyrian Fortress, 179</span><br />
+<span style="margin-left: 1em;">Bastioned City. A, 196</span><br />
+<span style="margin-left: 1em;">Enceinte of Constantinople, 180</span><br />
+<span style="margin-left: 1em;">Fortification. Section of a, 196</span><br />
+<span style="margin-left: 1em;">Fortresses. Egyptian, 179</span><br />
+<span style="margin-left: 1em;">Plan of Tiryns, 179</span><br />
+<span style="margin-left: 1em;">Towers of Messene, 180</span><br />
+<span style="margin-left: 1em;">Tyre, 180</span><br />
+<span style="margin-left: 1em;">Wall of Castellum of Jublaius, 180</span><br />
+<span style="margin-left: 1em;">Wall of Ch&acirc;teau Gaillard, 195</span><br />
+<span style="margin-left: 1em;">Walls of Pompeii, 180</span><br />
+<span style="margin-left: 1em;">Walls of Verona, 180</span><br />
+&ldquo;Modern Improvements.&rdquo; &ldquo;All the,&rdquo; 109, 141, 156, 174<br />
+Monument. Scandinavian, 55<br />
+<span class="ditto3a"> &ldquo; </span>&nbsp; to Egmont and Horn, Brussels, 9<br />
+<span class="ditto3a"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Liszt, 5<br />
+<span class="ditto3a"> &ldquo; </span><span class="ditto1"> &ldquo; </span> Minine and Pojarsky, Russia, 27<br />
+<span class="ditto3a"> &ldquo; </span><span class="ditto1"> &ldquo; </span> the Heroes of the Franco-Prussian War, Berlin, 19<br />
+Pulpit, 10<br />
+Quintus Church, Mainz, 172<br />
+Scabbard Ornament, 40<br />
+Sculpture, Campanile of St. Mark&#8217;s, 57, 93<br />
+Sword Hilt, 37<br />
+Tower, 24<br />
+Turret, Rothenburg, Ger., 204<br />
+Verplanck Homestead, Fishkill, N.Y., 26<br />
+Waterspout, 90<br />
+Window at Ulm, 201<br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="INDEX_BY_LOCATION" id="INDEX_BY_LOCATION"></a>INDEX BY LOCATION.</h2>
+
+<p class="center">[<i>The figures refer to the number of the journal, and not to the page.</i>]</p>
+
+
+<p>
+Aberdeen, Scotland. Cathedral of St. Machar, 733 (<i>Reg.</i>)<br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto5a"> &ldquo; </span>Hall, Craigievar Castle, 743 (<i>Imp.</i>)</span><br />
+Albi, France. Interior of the Cathedral, 734 (<i>Int.</i>)<br />
+Angoul&ecirc;me, France. House of St. Simon, 735 (<i>Int.</i>)<br />
+Anniston, Ala. Anniston City Land Co. Building. Chisolm &amp; Green, Architects, 734 (<i>Reg.</i>)<br />
+Arbroath, Scotland. Aberbrothwick Abbey, 732 (<i>Reg.</i>)<br />
+Balveny Castle, Scotland, 735 (<i>Reg.</i>)<br />
+Berlin, Ger. House-gable on Taubenstrasse. Herr Holst, Architect, 742 (<i>Int.</i>)<br />
+<span style="margin-left: 1em;">&ldquo;<span class="ditto2a"> &ldquo; </span> House on the Rauchstrasse. Kaiser &amp; Grossheim, Architects, 741 (<i>Int.</i>)</span><br />
+<span style="margin-left: 1em;">&ldquo;<span class="ditto2a"> &ldquo; </span> House on the Yorkstrasse. Herr Rintz, Architect, 744 (<i>Int.</i>)</span><br />
+Birmingham, Eng. House near, Essex &amp; Nicol, Architects, 743 (<i>Int.</i>)<br />
+<span class="smcap">Boston, Mass.</span>:&mdash;<br />
+<span style="margin-left: 1em;">Building for the Boston Real Estate Trust, 744 (<i>Reg.</i>)</span><br />
+<span style="margin-left: 1em;">Design for an Office-building. C. H. Blackall, Architect, 734 (<i>Reg.</i>)</span><br />
+<span style="margin-left: 1em;">House of Mrs. Charles Blake. Sturgis &amp; Cabot, Architects, 732 (<i>Imp.</i>)</span><br />
+<span style="margin-left: 2.5em;">&ldquo;<span class="ditto1"> &ldquo; </span> W. A. Burnham. E. C. Curtis, Archt., 739 (<i>Imp.</i>)</span><br />
+<span style="margin-left: 1em;">Sketch of Store. Wait &amp; Cutter, Architects, 732 (<i>Reg.</i>)</span><br />
+Brockenhurst, Eng. Black Knoll. R. T. Blomfield, Architect, 742 (<i>Int.</i>)<br />
+Bromley, Eng. Board School. Vacher &amp; Hellicar, Architects, 739 (<i>Int.</i>)<br />
+Brookline, Mass. House of Capt. Jesse H. Freeman. W. A. Rodman, Architect, 738 (<i>Reg.</i>)<br />
+Brooklyn, N.Y. St. Augustine&#8217;s Roman Catholic Church Buildings. Parfitt Bros., Architects, 733 (<i>Reg.</i>)<br />
+<span style="margin-left: 2em;">&ldquo;<span class="ditto3"> &ldquo; </span> Throop Avenue Presbyterian Church. Fowler &amp; Hough, Architects, 742 (<i>Reg.</i>)</span><br />
+<span style="margin-left: 2em;">&ldquo;<span class="ditto3"> &ldquo; </span> Vault, Greenwood Cemetery. Renwick, Aspinwall &amp; Russell, Archts., 744 (<i>Reg.</i>)</span><br />
+Buda-Pesth, Austria. House of Herr Hatner. Alfred Wellisch, Architect, 744 (<i>Int.</i>)<br />
+Cambridge, Mass. High School. Chamberlin &amp; Austin, Architects, 743 (<i>Reg.</i>)<br />
+Castle of Vincigliata, Italy. Kitchen. G. Fancelli, Architect, 735 (<i>Int.</i>)<br />
+Charleton, Eng. Parish Room and School. F. J. Commin, Architect, 739 (<i>Int.</i>)<br />
+Chatham, Eng. Holcombe. John Belcher, Architect, 735, 736, 738, 739 (<i>Int.</i>)<br />
+Chelmsford, Eng. Wrought-iron Gates, 732 (<i>Int.</i>)<br />
+Chester, Eng. New Premises. T. M. Lockwood, Architect, 737 (<i>Int.</i>)<br />
+Chicago, Ill. House of Julius Howells. Wm. H. Pfau, Architect, 740 (<i>Reg.</i>)<br />
+<span style="margin-left: 1.75em;">&ldquo;&nbsp;<span class="ditto1a">&nbsp; &ldquo; </span> Houses for Potter Palmer. C. M. Palmer, Architect, 735 (<i>Reg.</i>)</span><br />
+Chislehurst, Eng. Butler&#8217;s Wood. Ernest Newton, Architect, 733 (<i>Int.</i>)<br />
+Cincinnati, O. Capitals from Chamber of Commerce. H. H. Richardson and Shepley, Rutan &amp; Coolidge, Successors, Architects, 740 (<i>Imp.</i>)<br />
+<span style="margin-left: 2em;">&ldquo;&nbsp;&nbsp;&nbsp;<span class="ditto1a">&nbsp; &ldquo; </span> House for Mrs. T. T. Haydock. J. W. McLaughlin, Architect, 743 (<i>Imp.</i>)</span><br />
+Clackmannan, Scotland. Castle Campbell, 739 (<i>Int.</i>)<br />
+Cleveland, O. House of Chas. F. Brush, George H. Smith, Architect, 742 (<i>Imp.</i>)<br />
+<span style="margin-left: 2em;">&ldquo;&nbsp;&nbsp;&nbsp;<span class="ditto1a">&nbsp; &ldquo; </span> House of Mrs. S. T. Everett. C. F. &amp; J. A. Schweinfurth, Architects, 735 (<i>Imp.</i>)</span><br />
+Concord, N.H. Chapel, St. Paul&#8217;s School. Henry Vaughan, Architect, 742 (<i>Reg.</i>)<br />
+Cranbrook, Eng. Mill Pond Farm. M. E. Macartney, Architect, 743 (<i>Int.</i>)<br />
+Detroit, Mich. Premises of G. G. Booth. Mason &amp; Rice, Architects, 740 (<i>Reg.</i>)<br />
+Dinan, France. Street View, 736 (<i>Int.</i>)<br />
+East Providence, R.I. Town-hall. W. R. Walker &amp; Son, Archts., 738 (<i>Reg.</i>)<br />
+Edgware, Eng. Chapel of St. Mary of Nazareth. James Brooks, Architect, 736 (<i>Int.</i>)<br />
+Elmira, N.Y. First Baptist Church. Pierce &amp; Dockstader, Archts., 739 (<i>Reg.</i>)<br />
+Exeter, Eng. House at. James Crocker, Architect, 733 (<i>Int.</i>)<br />
+Falmouth, Eng. Church of All Saints. J. D. Sedding, Architect, 737 (<i>Int.</i>)<br />
+Felixstowe, Eng. The Gables. William A. Thorp, Architect, 740 (<i>Int.</i>)<br />
+Frome, Eng. Frome Union Offices. Drake &amp; Bryan, Architects, 744 (<i>Int.</i>)<br />
+Gardiner, Me. Baptist Church. Stevens &amp; Cobb, Architects, 737 (<i>Reg.</i>)<br />
+Goring-on-Thames, Eng. House. Geo. W. Webb, Architect, 740 (<i>Int.</i>)<br />
+Granada, Spain. Torre del Vino, Alhambra, 732 (<i>Int.</i>)<br />
+Greenville, N.Y. Cottage for Dr. T. H. Willard, Jr. Adolph Haak, Architect, 737 (<i>Reg.</i>)<br />
+Grimsby, Eng. Clee Park Hotel. E. W. Farebrother, Architect, 738 (<i>Int.</i>)<br />
+<span style="margin-left: 1.5em;">&ldquo;&nbsp;&nbsp;<span class="ditto2a"> &ldquo; </span>Railway Tavern. E. W. Farebrother, Architect, 738 (<i>Int.</i>)</span><br />
+Hackney Downs, Eng. Swimming-bath and Gymnasium, Grocers&#8217; Company Schools. H. C. Bowes, Archt., 736 (<i>Int.</i>)<br />
+Hampstead, Eng. House of Edwin Long, R.A. R. Norman Shaw, Architect, 734 (<i>Int.</i>)<br />
+Innsbruck, Austria. Interior of the Hofkirche, with Tomb of Maximilian I, 735 (<i>Int.</i>)<br />
+<span style="margin-left: 2em;">&ldquo;&nbsp;&nbsp;&nbsp;&nbsp;<span class="ditto3a"> &ldquo; </span>Villa Blanca, near. T. W. Deininger, Architect, 740 (<i>Int.</i>)</span><br />
+Karlstadt, Austria. House of J. Benic. Hans Pruckner, Architect, 743 (<i>Int.</i>)<br />
+Kearney, Neb. Block of Houses for E. K. Greene. Frank, Bailey &amp; Farmer, Architects, 741 (<i>Reg.</i>)<br />
+<span style="margin-left: 1.5em;">&ldquo;&nbsp;<span class="ditto3">&nbsp; &ldquo; </span> House of C. H. Elmendorff. Frank, Bailey &amp; Farmer, Architects, 737 (<i>Reg.</i>)</span><br />
+<span style="margin-left: 1.5em;">&ldquo;&nbsp;<span class="ditto3">&nbsp; &ldquo; </span> House of Geo. W. Frank. Frank, Bailey &amp; Farmer, Architects, 743 (<i>Reg.</i>)</span><br />
+Kingston, Eng. Coombe Warren. George Devey, Archt., 732, 734 (<i>Int.</i>)<br />
+Leeds, Eng. Wesleyan Chapel. T. Butler Wilson, Architect, 734 (<i>Int.</i>)<br />
+<span style="margin-left: 1em;">&ldquo;<span class="ditto2a">&nbsp; &ldquo; </span>All Saints&#8217; Church. R. Norman Shaw, Architect, 735 (<i>Int.</i>)</span><br />
+Lewiston, Me. School-house. Geo. F. Coombs, Architect, 735 (<i>Reg.</i>)<br />
+Linlithgow, Scotland. Dalmeny Church, 742 (<i>Imp.</i>)<br />
+Linz, Austria. Savings Bank. Austrian Building Co., Architects, 742 (<i>Int.</i>)<br />
+<span class="smcap">London, Eng.</span>:&mdash;<br />
+<span style="margin-left: 1em;">All Saints&#8217; Church. Christopher &amp; White, Architects, 743 (<i>Int.</i>)</span><br />
+<span style="margin-left: 1em;">Business Premises.&nbsp; Frederick Wallen, Architect, 738 (<i>Int.</i>)</span><br />
+<span style="margin-left: 1em;">Design for Church of the Good Shepherd. T. Phillips Figgis, Architect, 733 (<i>Int.</i>)</span><br />
+<span style="margin-left: 1em;">House, James Street, Buckingham Gate. R. T. Blomfield, Architect, 742 (<i>Int.</i>)</span><br />
+Los Angeles, Cal. Hall in House of W. R. Ray. W. Redmore Ray, Architect, 740 (<i>Reg.</i>)<br />
+<span style="margin-left: 0.75em;">&ldquo;<span class="ditto3"> &ldquo; </span><span class="ditto1a"> &ldquo; </span> High-School. J. N. Preston &amp; Son, Archts., 738 (<i>Reg.</i>)</span><br />
+<span style="margin-left: 0.75em;">&ldquo;<span class="ditto3"> &ldquo; </span><span class="ditto1a"> &ldquo; </span> Memorial &ldquo;Church of the Angels.&rdquo; E. A. Coxhead, Archt., 733 (<i>Reg.</i>)</span><br />
+Lucca, Italy. Piers of the Cathedral Portico, 739 (<i>Int.</i>)<br />
+Malden, Mass. Competitive Design for the First Baptist Church. Lewis &amp; Phipps, Architects, 740 (<i>Reg.</i>)<br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto3a"> &ldquo; </span> House. Chamberlin &amp; Whidden, Architects, 738 (<i>Reg.</i>)</span><br />
+<span style="margin-left: 1.5em;">&ldquo;<span class="ditto3a"> &ldquo; </span> Interiors in House at. Chamberlin &amp; Whidden, Architects, 738 (<i>Imp.</i>)</span><br />
+Mansfield, O. St. Luke&#8217;s Church. W. G. Preston, Architect, 744 (<i>Reg.</i>)<br />
+Memphis, Tenn. Design for Presbyterian Church. W. Albert Swasey, Architect. 742 (<i>Reg.</i>)<br />
+Minneapolis, Minn. Netley Corners. J. C. Plant, Architect, 744 (<i>Reg.</i>)<br />
+Minnetonka Beach, Minn. House of A. H. Stem. A. H. Stem, Architect, 741 (<i>Reg.</i>)<br />
+Morbihan, France. Ch&acirc;teau de Josselin, 733 (<i>Int.</i>)<br />
+<span style="margin-left: 2em;">&ldquo;<span class="ditto4">&nbsp; &ldquo; </span> Interior in the Ch&acirc;teau de Josselin, 732, 733 (<i>Int.</i>)</span><br />
+Nairn, Scotland. Cawdor Castle, 738 (<i>Int.</i>)<br />
+New Brunswick, N.J. Entrance-hall in House of Prof. C. E. Hart. H. R. Marshall, Architect, 736 (<i>Imp.</i>)<br />
+<span style="margin-left: 1em;">&ldquo;<span class="ditto4"> &ldquo; </span><span class="ditto2"> &ldquo; </span>House of Prof. C. E. Hart. H. R. Marshall, Architect, 736 (<i>Reg.</i>)</span><br />
+New Haven, Conn. Osborn Hall. Bruce Price, Architect, 741, 744 (<i>Imp.</i>)<br />
+Newport, R.I. House of W. S. Wells. G. E. Harding &amp; Co., Archts., 736 (<i>Reg.</i>)<br />
+<span class="smcap">New York, N.Y.</span>:&mdash;<br />
+<span style="margin-left: 1em;">Competitive Design for the Cathedral of St. John the Divine.</span><br />
+<span style="margin-left: 2em;">Glenn Brown, Architect, 732 (<i>Reg.</i>)</span><br />
+<span style="margin-left: 2em;">Edward C. Casey, Archt., 736 (<i>Int.</i>)</span><br />
+<span style="margin-left: 2em;">Cram &amp; Wentworth, Architects, 738 (<i>Imp.</i>)</span><br />
+<span style="margin-left: 2em;">Stephen C. Earle, Archt., 736 (<i>Int.</i>)</span><br />
+<span style="margin-left: 2em;">John L. Faxon, Architect, 736 (<i>Int.</i>)</span><br />
+<span style="margin-left: 2em;">B. G. Goodhue, Archt., 738 (<i>Imp.</i>)</span><br />
+<span style="margin-left: 2em;">J. R. Rhind, Architect, 743 (<i>Imp.</i>)</span><br />
+<span style="margin-left: 1em;">U.S. Trust Co.&#8217;s Building. R. W. Gibson, Architect, 734 (<i>Imp.</i>)</span><br />
+Normandy. Sketches in. By Herbert Railton, 739 (<i>Int.</i>)<br />
+Norton, Va. Sketch for Hotel at. Geo. T. Pearson, Architect, 734 (<i>Reg.</i>)<br />
+Norwich, Eng. Font and Canopy, St. Peter, Mancroft. Frank T. Baggallay, Architect, 735 (<i>Int.</i>)<br />
+Orange, N.J. House of J. R. Burnett. F. W. Beall, Architect, 743 (<i>Reg.</i>)<br />
+<span class="smcap">Paris, France</span>:&mdash;<br />
+<span style="margin-left: 1em;">Auditorium of the Palace of the Trocad&eacute;ro, 732 (<i>Int.</i>)</span><br />
+<span style="margin-left: 1em;">Central Dome of Exhibition Buildings,&nbsp; 740 (<i>Reg.</i>)</span><br />
+<span style="margin-left: 1em;">Ecole de Medecine, 741 (<i>Int.</i>)</span><br />
+<span style="margin-left: 1em;">New Bourse du Commerce. H. Blondel, Architect, 735 (<i>Int.</i>)</span><br />
+<span style="margin-left: 1em;">Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne, 743 (<i>Int.</i>)</span><br />
+<span style="margin-left: 1em;">Palace of the Liberal Arts. J. C. Formig&eacute;, Architect, 735 (<i>Int.</i>)</span><br />
+<span style="margin-left: 1em;">Porte Coch&egrave;re, 744 (<i>Int.</i>)</span><br />
+<span style="margin-left: 1em;">Tower, St. Etienne du Mont, 737 (<i>Reg.</i>)</span><br />
+Paterson, N.J. Sketch of Stable. C. Edwards, Architect, 735 (<i>Reg.</i>)<br />
+Pennfield, Pa. Alicia Springs Hotel. E. Culver, Architect, 738 (<i>Reg.</i>)<br />
+Poblet, Spain. Cloister, 737 (<i>Int.</i>)<br />
+<span class="smcap">Providence, R.I.</span>:&mdash;<br />
+<span style="margin-left: 1em;">Competitive Design for Gymnasium for Brown University. Gould &amp; Angell, Architects, 741 (<i>Int.</i>)</span><br />
+<span style="margin-left: 1em;">Competitive Design for Gymnasium for Brown University. Stone, Carpenter &amp; Willson, Archts., 741 (<i>Int.</i>)</span><br />
+<span style="margin-left: 1em;">House of E. D. Pearce. Rotch &amp; Tilden, Archts., 740 (<i>Int.</i>)</span><br />
+<span style="margin-left: 2.5em;">&ldquo;<span class="ditto1"> &ldquo; </span> G. M. Smith. Stone, Carpenter &amp; Willson, Architects, 733 (<i>Imp.</i>)</span><br />
+<span style="margin-left: 1em;">Old Iron and Brass Work, 737 (<i>Reg.</i>)</span><br />
+Quimper, France, Cathedral, 742 (<i>Int.</i>)<br />
+Reading, Eng. Church of St. John the Baptist. E. Prioleau Warren, Architect, 737 (<i>Int.</i>)<br />
+Ripon, Eng. Semi-detached Houses. T. Butler Wilson, Architect, 740 (<i>Int.</i>)<br />
+Rochester, N.Y. House of J. H. Howe. Nolan Bros., Architects, 736 (<i>Reg.</i>)<br />
+<span style="margin-left: 2em;">&ldquo;&nbsp;&nbsp;<span class="ditto3"> &ldquo; </span> House of Albert Will. Otto Block, Architect, 735 (<i>Reg.</i>)</span><br />
+<span style="margin-left: 2em;">&ldquo;&nbsp;&nbsp;<span class="ditto3"> &ldquo; </span> House on Portsmouth Terrace. W. C. Walker, Architect, 736 (<i>Reg.</i>)</span><br />
+Rome, Italy. Interior of St. Paul Extra Muros, 734 (<i>Int.</i>)<br />
+Ruxton, Md. House of C. De Lacey Evan. E. G. W. Dietrich, Architect, 734 (<i>Reg.</i>)<br />
+St. Andrews, Scotland. Churches of St. Regulus and St. Salvator, 734 (<i>Imp.</i>)<br />
+St. Paul, Minn. Houses for Dr. A. Wharton. A. H. Stem, Archt., 739 (<i>Reg.</i>)<br />
+<span class="smcap">Santiago, Chili</span>:&mdash;<br />
+<span style="margin-left: 1em;">Congress Hall and Chamber of Deputies, 738 (<i>Int.</i>)</span><br />
+<span style="margin-left: 1em;">House of Mrs. Consino, 733, 734 (<i>Int.</i>)</span><br />
+<span style="margin-left: 2.5em;">&ldquo;<span class="ditto1"> &ldquo; </span> Se&ntilde;or Cuda, 740 (<i>Int.</i>)</span><br />
+<span style="margin-left: 2.5em;">&ldquo;<span class="ditto1"> &ldquo; </span> Mr. McKenna, 740 (<i>Int.</i>)</span><br />
+<span style="margin-left: 1em;">Interior of the Recoletu Church, 735 (<i>Int.</i>)</span><br />
+<span style="margin-left: 1em;">Official Residence of the Intendente, 734 (<i>Int.</i>)</span><br />
+<span style="margin-left: 1em;">Residence of the former Viceroy of the Province, 738 (<i>Int.</i>)</span><br />
+<span style="margin-left: 1em;">Street View, 736 (<i>Int.</i>)</span><br />
+Savannah, Ga. Hotel de Soto. W. G. Preston, Architect, 733 (<i>Reg.</i>)<br />
+Seamer, Eng. Church of St. Martin. C. Hodgson Fowler, Archt., 742 (<i>Int.</i>)<br />
+Shaftesbury, Eng. Hall, Coombe House, near. E. T. White, Archt., 736 (<i>Int.</i>)<br />
+Stockholm, Sweden. Warehouse. A. Egendomen, Architect, 735 (<i>Int.</i>)<br />
+Strasbourg, Germany. University. Prof. Worth, Architect, 741 (<i>Reg.</i>)<br />
+Sydney, N.S.W. Town-hall, 743 (<i>Reg.</i>)<br />
+Tonbridge, Eng. Hall Place. George Devey, Architect, 741 (<i>Int.</i>)<br />
+Toulouse, France. Renaissance Doorways, 737 (<i>Reg.</i>)<br />
+Trieste, Austria. Lloyds. Baron Heinrich von Ferstel, Architect, 740 (<i>Int.</i>)<br />
+Tunbridge Wells, Eng. House. George Devey, Architect, 741 (<i>Int.</i>)<br />
+Tuxedo, N.Y. Cottage at. Renwick, Aspinwall &amp; Russell, Architects, 744 (<i>Reg.</i>)<br />
+Tweedmouth, Eng. Vicarage. F. R. Wilson, Architect, 744 (<i>Int.</i>)<br />
+Vienna, Austria. Grand Hotel. Carl Tietz, Architect, 741 (<i>Int.</i>)<br />
+<span style="margin-left: 1.75em;">&ldquo;<span class="ditto3a"> &ldquo; </span>Palace of Count Pallavicini. Herr Von Hohenberg, Archt., 743 (<i>Int.</i>)</span><br />
+Wakefield, Mass. Congregational Church. Hartwell &amp; Richardson Architects, 744 (<i>Reg.</i>)<br />
+West Medford, Mass. Episcopal Church. H. H. Richardson, Architect, 737 (<i>Imp.</i>)<br />
+Yuste, Spain. Ruined Chapel of Charles V, 732 (<i>Int.</i>)<br />
+</p>
+
+
+
+<hr style="width: 65%;" />
+
+<h1><span class="smcap">The American Architect and Building News.</span></h1>
+
+<p class="center"><span class="smcap">Vol. XXVII.</span>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
+Copyright, 1890, by <span class="smcap">Ticknor &amp; Company</span>,
+Boston, Mass.&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;No. 732.</p>
+
+
+<p class="center">Entered at the Post-office at Boston as second-class matter.</p>
+
+<p class="center"><span class="smcap">January 4, 1890.</span></p>
+
+
+<hr style="width: 65%;" />
+<p><span class='pagenum'><a name="Page_1" id="Page_1">[Pg&nbsp;1]</a></span></p>
+
+<div class="figcenter" style="width: 600px;">
+<h2><img src="images/aabn_03.png" width="600" height="94"
+alt="Decorative title"
+title="Contents" /></h2>
+</div>
+
+<table border="0" cellpadding="2" cellspacing="0" width="80%" summary="Table of Contents">
+  <tr>
+    <td class="tdlsc"><a href="#SUMMARY">Summary:</a>&mdash;</td>
+    <td class="tdr">&nbsp;</td>
+  </tr>
+  <tr>
+    <td class="tdlp">The Incomes of Architects.&mdash;Death of Mr. George
+F. Durand, Architect.&mdash;Concrete Arches.&mdash;An
+Architect&#8217;s Responsibility for Exceeding the
+Stipulated Cost of a Building.&mdash;A French
+Case in Point.&mdash;A Contractor Engages in
+Profit-Sharing with his Workmen.</td>
+    <td class="tdrb"><a href="#Page_1">1</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc"><a href="#THE_APARTMENT-HOUSE">The Apartment-House.</a></td>
+    <td class="tdr"><a href="#Page_3">3</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc"><a href="#ARCHITECTURE_IN_BROOKLYN">Architecture in Brooklyn.</a></td>
+    <td class="tdr"><a href="#Page_5">5</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc"><a href="#THE_STRUCTURE_OF_SANDSTONE">The Structure of Sandstone.</a></td>
+    <td class="tdr"><a href="#Page_9">9</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc"><a href="#THE_BARYE_EXHIBITION">The Barye Exhibition.</a></td>
+    <td class="tdr"><a href="#Page_10">10</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc"><a href="#THE_ILLUSTRATIONS">Illustrations:</a>&mdash;</td>
+    <td class="tdr">&nbsp;</td>
+  </tr>
+  <tr>
+    <td class="tdlp">&ldquo;The Lion and the Serpent.&rdquo;&mdash;Auditorium of the
+Palace of the Trocad&eacute;ro, Paris, France.&mdash;An
+Interior in the Ch&acirc;teau de Josselin, Morbihan,
+France.&mdash;Torre del Vino, Alhambra, Granada,
+Spain.&mdash;Ruins of the Chapel of Charles V,
+Yuste, Spain.&mdash;Coombe Warren, Kingston,
+England: Garden Front.&mdash;Coombe Warren,
+Kingston, England: Entrance Front.&mdash;A
+Gentleman&#8217;s Country House.&mdash;Wrought-Iron Gates,
+Duke Street, England.&mdash;Historical Figures from
+Lord Mayor&#8217;s Procession, 1889.&mdash;House of Mrs.
+Charles Blake, Beacon Street, Boston,
+Mass.&mdash;Competitive Designs for the Cathedral of
+St. John the Divine, New York, N.Y.&mdash;Abbey of
+Aberbrothwick: Gallery over Entrance.&mdash;Abbey of
+Aberbrothwick: The Western Doorway.&mdash;Design for
+a Store.</td>
+    <td class="tdrb"><a href="#Page_12">12</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc"><a href="#SOCIETIES">Societies.</a></td>
+    <td class="tdr"><a href="#Page_14">14</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc"><a href="#COMMUNICATIONS">Communications.</a>&mdash;</td>
+    <td class="tdr">&nbsp;</td>
+  </tr>
+  <tr>
+    <td class="tdlp">Barye&#8217;s Admirer.&mdash;Evaporation of Water in Traps.</td>
+    <td class="tdrb"><a href="#Page_15">15</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc"><a href="#NOTES_AND_CLIPPINGS">Notes and Clippings.</a></td>
+    <td class="tdr"><a href="#Page_15">15</a></td>
+  </tr>
+  <tr>
+    <td class="tdlsc"><a href="#TRADE_SURVEYS">Trade Surveys.</a></td>
+    <td class="tdr"><a href="#Page_16">16</a></td>
+  </tr>
+</table>
+
+
+<hr style='width: 45%;' />
+
+
+<p><a name="SUMMARY" id="SUMMARY"></a>
+<span class="dropcapt"><span class="dropcap">T</span></span>hat extraordinary phenomenon, which those who read
+many newspapers sometimes encounter, of the inspiration
+of two writers following tracks so closely parallel that
+their effusions are word for word the same from beginning to
+end, was recently to be observed in the case of the New York
+<i>Herald</i> and the Pittsburgh <i>Leader</i>, which published on the same
+day an article devoted to architects or, rather, to their incomes,
+which held up these fortunate professional men as objects to
+be envied, if not by all the world, at least by journalists,
+many of whom have just now a way of writing about rich men
+or women which suggests the idea that the journalist himself
+was brought up in a jail, and sees nothing but the pockets of
+those whom he favors with his attention. The present writers,
+after half a column or so of rubbish about the grandeur of
+American buildings, furnish the New York and Pittsburgh
+public with the information that &ldquo;there are in the city of New
+York at least ten architects whose annual net income is in
+excess of a hundred thousand dollars, while in Philadelphia,
+Chicago, Boston and St. Louis there are quite as many who
+can spend a like amount of money every year without overdrawing
+their bank accounts.&rdquo; This is certainly very liberal
+to the architects, but what follows is even more so. &ldquo;There
+are,&rdquo; we are told, in addition to the magnates just mentioned,
+&ldquo;hosts of comparatively small fry whose annual profits will pass
+the fifty-thousand-dollar mark.&rdquo; If an architect whose net
+income is only a thousand dollars a week belongs to the
+&ldquo;small fry,&rdquo; what name would these journalists have for the
+remaining insignificant beings who practise architecture faithfully
+and skilfully, and thank Providence sincerely if their
+year&#8217;s work shows a profit of three thousand dollars? Yet,
+with a tolerably extended acquaintance in the profession, we
+are inclined to think that this list includes the greater part of
+the architects in this country. As to the architects whose
+usual income from their business is a hundred thousand
+dollars, they are pure myths. The New York-Pittsburgh authority
+mentions by name Mr. R. M. Hunt as one of them.
+As a counterpoise to this piece of information, we will mention
+what a worthy contractor once said to us about Mr. Hunt.
+The builders were not, in those days, very fond of our venerated
+President. He had altogether too many new ideas to
+suit their conservatism, which looked with horror on anything
+out of the common way. &ldquo;The fact is,&rdquo; said the contractor,
+in a burst of confidence, &ldquo;Mr. Hunt never could get a living at
+all if he hadn&#8217;t a rich wife.&rdquo; By averaging these two pieces
+of misinformation, after the manner of the commissioners of
+statistics, one may, perhaps, get some sort of notion of what a
+very able and distinguished architect in New York, seconded
+by skilful and devoted assistants, can make out of his business;
+but men so successful are extremely rare exceptions in the
+profession, and the &ldquo;hosts&rdquo; of &ldquo;small fry&rdquo; whose annual
+profits amount to fifty thousand dollars, of course, do not exist.
+It would be a waste of time to notice such ridiculous assertions,
+were it not that they do a great deal of harm to the profession
+and the public: to the profession by making people believe
+that architects are combined to extort an unreasonable compensation
+for their work; and to the public by spreading the idea
+that the profession of architecture is just the one in which
+their sons can become rapidly rich without much trouble. It
+would be a useful thing to publish here, as is done in England,
+the value of the estate left at their death by architects of distinction,
+although in many cases this is greatly increased by
+inheritance, by marriage, by fortunate investments or by outside
+employment; but, if this should be done, it would be not
+less useful to publish also a few true accounts of the early
+trials and struggles of architects. How many of them have
+we known who have given drawing-lessons, illustrated books,
+designed wall-papers, supervised laborers, delivered lyceum-lectures
+or written for newspapers, happy if they could earn
+two dollars a day while waiting for a vacancy in the &ldquo;hosts&rdquo;
+of architects with a thousand dollars a week income. How
+many more, who were glad of the help of their faithful young
+wives in eking out the living which had love for its principal
+ingredient. And of those who have persisted until time and
+opportunity have brought them a comparatively assured,
+though modest position, how many have found their way to it
+through architecture? If we are not mistaken, less than half
+of the trained students in architecture turned out by our technical
+schools are to be found in the profession six years later.
+The others, ascertaining, on a closer view, that their expected
+income of fifty thousand dollars a year is farther off than they
+anticipated, and that fifty thousand cents is about as much as
+they can expect for a good many years to come, drift away
+into other employments, and some of them, no doubt, will be
+much astonished to learn from the newspaper reporters what
+they have missed.</p>
+
+<hr style='width: 45%;' />
+
+<p><span class="dropcapw"><span class="dropcap">W</span></span>e regret very much to hear of the death of Mr. George
+F. Durand, Vice-President of the Canadian Society of
+Architects; which occurred at London, Ontario, last
+week. Mr. Durand was young in the profession, being only
+thirty-nine years old, but was very widely and favorably known
+among architects and the public, both in Canada and elsewhere.
+He was a native of London, but after spending a short
+time in the office of the city engineer there, he went to Albany,
+N.Y., where he was employed by Mr. Thomas Fuller as his
+chief assistant in the work on the new capitol, which was then
+in Mr. Fuller&#8217;s hands. When Mr. Fuller was superseded, Mr.
+Durand left Albany with him, and, after a year spent in Maine,
+with a granite company, he returned to his native city, where
+he soon found constant and profitable employment, having for
+several years built a large part of the most important structures
+in Western Ontario. The London <i>Advertiser</i>, to which we owe
+most of our information as to his works, offers to his relatives
+and friends the sincere sympathy of the public which it represents,
+and we are sure that the architects of the United States
+will join with their brethren in Canada in mourning the loss of
+one who, at so early an age, had conquered for himself so conspicuous
+a place in his laborious profession.</p>
+
+<hr style='width: 45%;' />
+
+<p><span class="dropcaps"><span class="dropcap">S</span></span>ome interesting experiments on concrete arches were made
+recently, during the construction of the new railway station
+at Erfurt. Some of the rooms were to be covered with
+concrete floors, carried on iron beams, while others, of smaller
+size, were intended to be spanned by arches extending from
+wall to wall. One of the latter, something over seven feet in
+width, was covered with concrete, flat on top, and forming on
+the underside a segmental arch, the thickness of the material
+at the crown of the arch being four inches, and about eleven
+inches at the springing. The concrete was made of &ldquo;Germania&rdquo;
+Portland cement, mixed dry with gravel, moistened as
+required, and well rammed on the centring; and skew-backs
+were cut in the brick walls at the springing line, extending two<span class='pagenum'><a name="Page_2" id="Page_2">[Pg&nbsp;2]</a></span>
+courses higher, so as to give room for the concrete to take a
+firm hold on the walls. Fourteen days after completion, this
+floor was loaded with bricks and sacks of cement to the amount
+of more than six hundred pounds per square foot, without
+suffering any injury, although, after the load was on, a workman
+hammered with a pick on the concrete, close to the loaded
+portion, so as to provoke the cracking of the arch if there had
+been any tendency to rupture. In the other cases, the concrete
+arches being turned between iron beams, the strength of the
+floor was limited by that of the beams, so the extreme load
+could not be put on; but the curious fact was established that a
+section of concrete flat on top, and forming a regular segmental
+arc beneath, was far stronger than one in which a portion of
+the under surface was parallel to the upper; showing, apparently,
+that the arched form, even with homogeneous concrete,
+causes the conversion of a large part of a vertical pressure
+into lateral thrust, reducing by so much the tendency of
+the load to break the concrete transversely. This observation
+is important theoretically as well as practically. It has been
+of late generally maintained that a concrete arch is not an arch
+at all, but a lintel, without thrust, and that the common form,
+flat above and arched beneath, is objectionable, as it gives
+least material at the centre, where a lintel is most strained.
+The Erfurt experiments directly contradict this view, and it
+remains for some students of architecture to render the profession
+a service by repeating them, and, at the same time,
+actually determining the thrust, for a given load, of arches of
+particular forms. Until this is done, the concrete construction,
+which is likely, we may hope, to become before many years the
+prevailing one in our cities, will be practised with difficulty and
+uncertainty, if not with danger. Incidentally, a trial was made
+of the effect of freezing on the concrete. The floor of a room
+arched in four bays, between iron beams, had just been finished
+when the weather became cold, and on the morning after its
+completion the thermometer stood at twenty above zero. The
+concrete had not been protected in any way, and the contractor
+was notified that it had been frozen, and must be removed.
+This was early in December, and it was about the first of
+April before the work of removal, preliminary to replacing the
+concrete with new material, was begun. Three bays had been
+wholly or partly removed when the hardness of the concrete
+under the workmen&#8217;s tools attracted attention, and the arch remaining
+intact was tested with a load of three hundred pounds
+per square foot, which it bore perfectly.</p>
+
+<hr style='width: 45%;' />
+
+<p><span class="dropcapt"><span class="dropcap">T</span></span>he question how far an architect can be held responsible
+in damages, in cases where the cost of work exceeds the
+estimates, is examined in a recent number of <i>La Semaine
+des Constructeurs</i>, and some considerations are mentioned which
+are new to us. According to Fr&eacute;my-Ligneville, the most
+familiar authority on the subject, the architect incurs no
+responsibility whatever, either for his own estimates or those
+of other people, unless he intentionally and fraudulently misleads
+his client by a pretended estimate. In this case, as in
+that of any other fraud, he is liable for the results of his crime.
+Except under such circumstances, however, the architect&#8217;s
+estimate of cost is simply an expression of opinion, the correctness
+of which he does not guarantee, any more than a lawyer
+guarantees the correctness of an opinion, although important
+interests may depend upon it. The owner can estimate the
+value of the architect&#8217;s opinion, as of the lawyer&#8217;s, by the professional
+reputation of the man who gives it, and, if he wishes
+to be more secure, he can go to another architect, as he would
+to another lawyer, for an independent estimate. Moreover, if
+the owner of the projected building is still anxious that the cost
+should be strictly limited to the sum estimated by the architects,
+he can have a contract drawn by which the builder shall
+be obliged to complete it for that sum, and can have his plans
+and specifications examined by competent authority, to see if
+they include everything necessary. This ought to make him
+reasonably sure what his house will cost him, provided he does
+not himself make changes in the plans or specifications. If he
+has omitted to take this precaution, and, as his building goes
+on, he finds that it is likely to exceed the estimate, he has
+another excellent opportunity to protect himself, by ordering
+immediately such changes in the plans and specifications for
+the work yet remaining to be done as may reduce the expense
+to the desired amount, and by doing so he generally suffers no
+damage, as, if he does not get all he expected to for his money,
+he gets all his money will pay for.</p>
+
+<hr style='width: 45%;' />
+
+<p><span class="dropcapw"><span class="dropcap">W</span></span>ith all these opportunities for revising and testing the
+correctness of an architect&#8217;s estimate, the man who
+neglects to avail himself of any of them, and who allows
+the work on his house to go on, after it has become evident
+that it will cost more than the estimate, has, according to M.
+Fr&eacute;my-Ligneville, no claim against any one on account of his
+disappointment. Of course, the architect should be as careful
+in his estimates as his experience allows him to be, and any
+conscientious man would try not to mislead a client, but both
+he and his client must remember that when the tenders of the
+builders themselves usually vary from fifty to a hundred per
+cent for the same piece of work, an architect&#8217;s estimate cannot
+be anything more than an opinion. Moreover, the architect
+should not forget that, being an opinion, and not a guaranty,
+he is not only at liberty to modify it as much and as often as
+he sees fit, but is bound to do so, and to inform his client at
+once of the change, when fuller information, or alteration in the
+circumstances, shall show him that the original estimate is
+likely to be exceeded. If he does this frankly, although his
+client may be disappointed, he cannot reproach the architect
+with trying to deceive him, and there will probably still be
+time to make the changes necessary for reducing the expense
+to the desired point. In a case decided in Paris in July, 1855,
+a man was condemned to pay fifty-four thousand francs for repairs
+done on a house. He proved that his architect had
+estimated the expense at seven or eight thousand, but it was
+shown that the architect had subsequently informed him that it
+would be necessary to do more work than was at first contemplated,
+and that he had made inquiries about the matter,
+and had turned out his tenants so that the work might be done,
+and had paid the contractors more than the sum originally
+estimated; and the court thought he had no case at all against
+the architect.</p>
+
+<hr style='width: 45%;' />
+
+<p><span class="dropcapt"><span class="dropcap">T</span></span>he great building firm of Peto Brothers, in England,
+having been awarded a contract for a large public building,
+have taken advantage of what, as they say, they consider a
+favorable opportunity to initiate a system of profit-sharing with
+their men, in accordance with a circular which is printed in the
+<i>Builder</i>. The system described by the circular is very simple.
+It is to apply for the present, only to the contract mentioned,
+but, if it works well, will be extended to future cases. Under
+the arrangement proposed one-quarter of the net profits of the
+contract are, when the building is done and the accounts settled,
+to be divided, as a bonus above their wages, among the men
+who have worked on it, in proportion to the wages they have
+earned. The conditions under which each man is entitled to his
+share are that he shall have worked long enough on the contract
+to have earned five pounds, at the regular rate of wages; that
+he shall not have neglected his duty, or misconducted himself,
+or wasted his time, or in other ways have acted so as to diminish
+the profits of the contract, or injure the reputation of the firm
+for good and honest work; and, that he shall not have engaged
+in any strike for shorter hours, or for wages above the schedule
+of wages which prevailed at the time the contract was made,
+and upon which the contract price was based. That the workmen
+may assure themselves of the fairness with which the
+division is carried out they are invited by the circular to send a
+representative to watch the making-up of the accounts by the
+auditor of the firm, and to sign the balance-sheet. In order to
+identify the claimants, every man must obtain a printed ticket
+from the time-keeper, on beginning his work, countersigned by
+the foreman, and noting the day and hour when his employment
+commenced, with his name, number and wages. This is to be
+again signed and countersigned when he leaves, and must be
+produced to secure a share in the dividend. Unpretending as it
+is, this bids fair to be one of the most interesting experiments
+in social science yet tried, and unless the trades-unions in England
+have forgotten their prowess, it will not be carried out
+without a struggle. Our readers will remember Mr. Lewis H.
+Williams&#8217;s experiences in trying a similar plan with his carpenters
+in New York, and his final victory, but he had only one
+union to contend with, and that not a very compact one, while
+Messrs. Peto Brothers will have all the building trades about
+their ears at once, and the great question whether men shall be
+allowed to do only a fixed amount of work in a day, and that
+amount as small as possible, or whether they shall be allowed
+to work as they please, will be fairly brought before the parties
+for decision.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_3" id="Page_3">[Pg&nbsp;3]</a></span></p>
+<h2><a name="THE_APARTMENT-HOUSE" id="THE_APARTMENT-HOUSE"></a>THE APARTMENT-HOUSE.</h2>
+
+
+<div class="figcenter" style="width: 600px;">
+<img src="images/aabn_04.png" width="600" height="326"
+alt="Cartoon for Sgraffito by Heywood Sumner"
+title="&ldquo;The Sure Revolving Test of Time--Past and Present&rdquo;" />
+</div>
+
+<p class="center">From <i>Building News</i>.</p>
+
+<p><span class="dropcapm"><span class="dropcap">M</span></span>ost people are willing to admit that they cannot afford to pay
+over twice as much for a thing as it is worth; but few in this
+country are aware that they do this very thing when they build
+for themselves an independent city dwelling-house or pay a rent
+equivalent to or greater than the interest on this outlay.</p>
+
+<p>In the old country the secret of obtaining luxury and economy
+combined in building has been learned, and rich and poor, fashionable
+and unfashionable alike live in &ldquo;flats.&rdquo; In America, people
+have not yet learned this lesson, but cling to the old and barbarous
+custom of living <i>perpendicularly</i> in isolated towers, with all the cares
+and worries that go with isolated management.</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="FIGURE_1" id="FIGURE_1"></a>
+<a href="images/aabn_05.png">
+<img src="images/aabn_05th.png" width="600" height="342"
+alt="Floorplan for an apartment house"
+title="Figure 1" /></a>
+<span class="caption">Figure 1.</span>
+</div>
+
+<p>Nothing shows more clearly than this, how much man is a creature
+of habit. In his savage state, the nature of his existence necessitated
+the isolated hut. As civilization advanced, however, the necessity
+for, and enormous advantages of co&ouml;peration became evident, but
+habit perpetuated the isolated dwelling long after the reasons for its
+existence had disappeared, and it required centuries for civilized
+men to learn that co&ouml;peration is an element as essential to perfection
+in the arrangement of their habitations as it is in other things.</p>
+
+<p><i>A given accommodation may be obtained in the form of a &ldquo;flat&rdquo; for
+less than one-half the outlay required to obtain it in the form of an independent
+dwelling built on the same land.</i></p>
+
+<p>The form of comparison herein presented has never, to my knowledge,
+been heretofore made, and the results are as surprising as they
+are important and interesting.</p>
+
+<p>The estimates of cost have been made by several competent contractors
+on scale drawings and accurate specifications, are easily
+verified and hence may be accepted as reliable.</p>
+
+<p><a href="#FIGURE_1">Figure 1</a> is one of the plans of our apartment-house which is to be
+built on the Back Bay, Boston.</p>
+
+<p><a href="#FIGURE_2">Figure 2</a> shows the floor-plans of an independent house which
+might be built on the same land. Both figures are drawn to the
+same scale for convenience in comparing the dimensions. The independent-house
+(which I shall, in contradistinction to the &ldquo;flat,&rdquo;
+designate as the &ldquo;tower&rdquo; to mark its prominent point of difference
+from the &ldquo;flat&rdquo; in form) contains a kitchen, pantry, furnace-room,
+fuel-cellar, laundry, dining-room, china-closet, parlor, eight bed-chambers
+provided with suitable closets, two bath-rooms, a trunk-room,
+a front staircase extending from the first floor to the attic, and
+a back staircase extending from the basement to the third floor.
+What will these accommodations cost in this form and what in the
+form of a &ldquo;flat&rdquo; in an apartment-house?</p>
+
+<p>The apartment-house contains a public kitchen, steam-heating,
+ventilating and electric-lighting isolated plants, fuel-cellar, laundry,
+caf&eacute;, billiard-room, gentlemen&#8217;s smoking-room, ladies&#8217; parlor, small
+public dining-rooms, and eighty suites, <i>averaging</i> five rooms, a bath-room
+and closets in each, and with a trunk or storage-room in
+the basement for each suite; four elevators and four fireproof staircases
+of iron and marble enclosed in brick walls from basement to
+roof.</p>
+
+<p>The suites are of different sizes to suit the proposed occupants, and
+will have from two to twelve or more rooms of varying dimensions
+as desired. They are partly &ldquo;housekeeping&rdquo; suites, <i>i. e.</i>, having kitchens
+and dining-rooms; partly &ldquo;hotel&rdquo; suites, <i>i. e.</i>, having neither
+kitchens nor dining-rooms, the occupants preferring to use the public
+caf&eacute; and dining-rooms; and partly &ldquo;semi-housekeeping&rdquo; suites, <i>i. e.</i>,
+having dining-rooms and china-closets with dumb-waiters connecting
+them with the public-kitchen, but no independent kitchen. The
+&ldquo;housekeeping&rdquo; suites require one more bed-room than the others,
+to accommodate a private cook.</p>
+
+<p>Assuming now at first in our comparison those conditions which
+are least favorable to the apartment-house, we will take one of the
+&ldquo;housekeeping&rdquo; suites, having precisely the same number and size
+of rooms as we find in our independent house or &ldquo;tower&rdquo; and compare
+costs.</p>
+
+<p>The only difference in the accommodation in each case is that, in
+the &ldquo;flat,&rdquo; the rooms are accessible to one another without the use
+of stairs, while in the &ldquo;tower&rdquo; six flights of stairs in all are used,
+constituting in the aggregate a ladder, as it were, of about a hundred
+steps; also in the fact that in the &ldquo;tower&rdquo; the owner has to manage
+his own heating, ventilating and hot-water supply apparatus, while
+in the &ldquo;flat&rdquo; this work is done for him; that in the &ldquo;tower&rdquo; wooden
+staircases and no elevators are used, while in the &ldquo;flat&rdquo; fireproof
+staircases enclosing elevators are provided; that in the &ldquo;tower&rdquo; the
+main partitions are often of wood while in the flat they are of brick a
+foot thick and each &ldquo;flat&rdquo; is separated from its neighbor by a brick
+wall a foot thick and all the floors are completely deadened against
+the transmission of sound; and finally that in the &ldquo;tower&rdquo; no external
+fire-escape is provided, while the &ldquo;flat&rdquo; has convenient
+external fire-escapes of iron. Otherwise the accommodations are in
+both cases precisely the same.</p>
+
+<p>The total cost of this apartment-house, including the building-lot
+valued at, say, $5 a square foot, has been carefully estimated at
+$617,771.</p>
+
+<p>This is the highest of two competitive estimates given by two
+responsible builders, and comprises general cooking-plant, electric-lighting,
+steam-heating and ventilating apparatus, iron staircases and
+fire-escapes, elevators, copper roofing, architect&#8217;s commission, and, in
+short, everything required for occupancy and use except wall-paper.</p>
+
+<p><span class='pagenum'><a name="Page_4" id="Page_4">[Pg&nbsp;4]</a></span>
+The first floor contains 16,688 square feet of available room. (By
+&ldquo;available&rdquo; I mean room which is directly occupied by, and which
+must be separately provided for each owner. That is, it excludes
+staircases, furnace, laundry, etc., which might be used in common by
+many owners and therefore need not be duplicated for each, and
+which are only indirectly serviceable to each owner in contributing
+to the usefulness of those which are directly enjoyed.) The six
+floors above contain 23,288 square feet of available room each,
+making a total of 156,416 square feet. Adding 10,880 square feet
+for basement storage and trunk-room for the suites, and 2,000 square
+feet in the basement for barber&#8217;s shop, apothecary, carriage and
+other offices along the street fronts, we have a total of 169,296 square
+feet of available room in the entire apartment-house. Dividing the
+total cost $617,771 by this figure we have $3.65 for the cost of each
+square foot of available room in the building.</p>
+
+<p>Our &ldquo;tower&rdquo; measures twenty-five feet front on party lines, by
+seventy feet deep. Its available rooms comprise parlor, library,
+music-room, eight closeted-chambers, two bath-rooms, a trunk-room,
+a dining-room, and we may add a kitchen for those who still believe
+in having an independent cook.</p>
+
+<p>The area of these rooms is as follows:</p>
+
+<table border="0" cellpadding="2" cellspacing="0" width="40%" summary="Table of Room Areas">
+  <tr>
+    <td class="tdl">Parlor</td>
+    <td class="tdl">374 sq. ft.</td>
+  </tr>
+  <tr>
+    <td class="tdl">Library</td>
+    <td class="tdl">374&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&ldquo;</td>
+  </tr>
+  <tr>
+    <td class="tdl">Music-room</td>
+    <td class="tdl">154&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&ldquo;</td>
+  </tr>
+  <tr>
+    <td class="tdl">Chamber No. 1</td>
+    <td class="tdl">384&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&ldquo;</td>
+  </tr>
+  <tr>
+    <td class="tdl">Chamber No. 2</td>
+    <td class="tdl">528&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&ldquo;</td>
+  </tr>
+  <tr>
+    <td class="tdl">Chamber No. 3</td>
+    <td class="tdl">170&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&ldquo;</td>
+  </tr>
+  <tr>
+    <td class="tdl">Chamber No. 4</td>
+    <td class="tdl">252&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&ldquo;</td>
+  </tr>
+  <tr>
+    <td class="tdl">Chamber No. 5</td>
+    <td class="tdl">162&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&ldquo;</td>
+  </tr>
+  <tr>
+    <td class="tdl">Chamber No. 6</td>
+    <td class="tdl">286&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&ldquo;</td>
+  </tr>
+  <tr>
+    <td class="tdl">Chamber No. 7</td>
+    <td class="tdl">242&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&ldquo;</td>
+  </tr>
+  <tr>
+    <td class="tdl">Chamber No. 8</td>
+    <td class="tdl">315&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&ldquo;</td>
+  </tr>
+  <tr>
+    <td class="tdl">2 Bath-rooms</td>
+    <td class="tdl">144&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&ldquo;</td>
+  </tr>
+  <tr>
+    <td class="tdl">Trunk-room</td>
+    <td class="tdl">136&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&ldquo;</td>
+  </tr>
+  <tr>
+    <td class="tdl">Dining-room</td>
+    <td class="tdl">408&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&ldquo;</td>
+  </tr>
+  <tr>
+    <td class="tdl">Kitchen</td>
+    <td class="tdl">384&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&ldquo;</td>
+  </tr>
+  <tr>
+    <td class="tdl">China-closet</td>
+    <td class="tdl">136&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&ldquo;</td>
+  </tr>
+  <tr>
+    <td class="tdl">Other closets</td>
+    <td class="tdl">410&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&ldquo;</td>
+  </tr>
+</table>
+
+<p>Making a total of 4,859 square feet of available room in the
+&ldquo;tower.&rdquo; Its total cost on a twenty-five foot lot of the average
+depth on the Back Bay, <i>i. e.</i>, 112 feet, the land being valued as
+before at $5 per square foot, would be at the lowest estimate $32,000
+at the present prices, the wood finish being equally good with that in
+the &ldquo;flat.&rdquo; If we figure, however, for the same style of lighting,
+heating, ventilating and fireproofing, and provide an elevator and
+outside fire-escape, the cost could not be put below $40,000.</p>
+
+<p>The same amount of available space, <i>i. e.</i>, 4,859 square feet in our
+&ldquo;flat&rdquo; would cost at $3.65 per square foot as above estimated,
+$17,735.</p>
+
+<p>If now we consider that the management of a private kitchen and
+an Irish cook does not actually constitute the essence of a home in
+its broadest sense, but, that on the contrary, it really deprives a
+home of its greatest charm, namely, peace of mind and rest of body,
+the kitchen and the cook&#8217;s bed-chamber may be omitted from our
+&ldquo;flat&rdquo; in view of the public kitchen. The area of our &ldquo;flat&rdquo; then
+becomes 4,475 square feet, which, at $3.65 per foot, brings the cost
+down to a little over $16,000.</p>
+
+<p>Finally, if we omit the dining-room also, with its china-closet, our
+area becomes 3,931 square feet, and the cost only $14,350 for the
+&ldquo;flat,&rdquo; against $40,000 for the &ldquo;tower,&rdquo; the former being but little
+over a third of the latter.</p>
+
+<p>So much for the saving in the case of a large family and large
+suite. For a small suite, such as would be required for a single
+person, or a small family of two or three persons, the saving at once
+mounts to a very much larger figure; so much so, indeed, as to
+render the use of the isolated house in such cases a most inordinate
+extravagance, except for the very rich. Thus a single person, or a
+family of two or three, could be very comfortably provided for with
+three or four rooms, and a bath-room in an apartment-house having a
+good caf&eacute;. Estimating the rooms to measure 18 x 22 feet, their area
+would be a little over 400 feet each, including closets, and their cost
+$1,460 apiece; or for smaller rooms of, say, 14 x 15 feet, or 224
+square-feet surface, the cost would be but $818 apiece. An isolated
+dwelling, on the same land, of only eighteen feet frontage and fifty
+feet deep, would cost, including the lot at $5 a foot, not less than
+$18,000 or $8,000, without the land. Of course, in such an isolated
+dwelling, electric-lighting, steam-heating, fireproof stairs, and other
+luxuries of the &ldquo;flat,&rdquo; would hardly be expected.</p>
+
+<p>By the arrangement of our apartment-house, there are twenty-four
+corner-suites out of the eighty. These have direct sunlight on
+either one or both of their exposed fronts, and may be estimated as
+worth fifty per cent more than the rest. In other words, 3/10 of
+the whole available room space is worth fifty per cent more,
+and 7/10 correspondingly less than the average price of $3.65 per
+foot. Therefore, $3.65 x 1-1/2 = $5.47 = price of corner-suites per
+foot, 3/10 x the total area 169,296 square feet = 50,788 square
+feet x $5.47 = $277,810, which, deducted from $617,771, leaves
+$339,961 to represent the total cost of the remaining 7/10. The total
+area 169,296 x 7/10 = 118,507 square feet of available space in the
+inner-suites. Hence $339,961/118,507 = $2.86 as the price per square foot
+of the inner-suites, or all suites which are not corner-suites.</p>
+
+<p>Now, as our estimates on the &ldquo;tower&rdquo; were made on the basis of
+its being an inner building in a block and not a corner-house, our
+estimates for the &ldquo;flat&rdquo; should be on a basis of $2.86, instead of
+$3.65, as taken. Therefore, our suite of 4,859 square feet would be
+but $13,896 if the &ldquo;flat&rdquo; were any other than a corner one, and if
+the public kitchen and caf&eacute; were used, it would be $11,242, or <i>but a
+little more than a quarter of that of the &ldquo;tower!&rdquo;</i></p>
+
+<p>The foregoing figures are easily explained, and their correctness
+verified by the following simple diagrams and considerations:</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="FIGURE_2" id="FIGURE_2"></a>
+<img src="images/aabn_06.png" width="600" height="398"
+alt="Floorplan of an independent house"
+title="Figure 2" />
+<span class="caption">Figure 2.</span>
+</div>
+
+
+<p>In <a href="#FIGURE_2">Figure 2</a> the shaded parts of the plans represent the unavailable
+room which, under the apartment-house system, are rendered
+unnecessary, and they are practically wasted. Thus the eighty
+families, by uniting their eighty homes in one co&ouml;perative apartment,
+save 156 staircases consisting of seventy-six front and eighty back
+staircases, seventy-eight furnaces, seventy-nine laundries, etc., and
+nearly all the space they occupy, and the land, foundation and roof
+they represent.</p>
+
+<div class="figcenter" style="width: 350px;">
+<a name="FIGURE_3" id="FIGURE_3"></a>
+<img src="images/aabn_07.png" width="350" height="600"
+alt="Diagram showing available and unavailable space comparison between
+apartment and independent buildings"
+title="Figure 3" />
+<span class="caption">Figure 3.</span>
+</div>
+
+
+<p>This waste space may be graphically shown by the diagrams in
+<a href="#FIGURE_3">Figure 3</a>. The large black-and-white line represents the &ldquo;tower,&rdquo;
+and the shorter the &ldquo;flat.&rdquo; The black part of each line denotes unavailable,
+and the white part available room, the sum of the two
+denoting the total cubical contents of each dwelling. The white
+parts of the lines measure the same length in each case, because the
+amount of available room in &ldquo;tower&rdquo; and &ldquo;flat&rdquo; is assumed at the
+outset to be the same. Thus in the &ldquo;tower,&rdquo; the front and back
+staircases and halls take up 22,000 cubic feet out of the total 106,000<span class='pagenum'><a name="Page_5" id="Page_5">[Pg&nbsp;5]</a></span>
+cubic feet covered by the entire building. In the &ldquo;flat&rdquo; the proportional
+part of the halls and staircases for each suite is represented
+by a comparatively insignificant quantity as shown.</p>
+
+<p>Again, an enormous waste is shown in the flooring, roof and air-spaces
+of the &ldquo;tower,&rdquo; while this item is but a trifle in the &ldquo;flat.&rdquo;
+The six floors, each 16 inches thick, and the roofing make up together
+in the &ldquo;tower&rdquo; 12,000 cubic feet, or nearly the equivalent of
+an entire story. Add to this 12,000 cubic feet of air-space under the
+roof and over the concrete, and we have in these items a waste of
+24,000 cubic feet, against only 4,000 in the &ldquo;flat.&rdquo;</p>
+
+<p>Thus we see that the waste space in the &ldquo;tower&rdquo; actually exceeds
+the available. Yet it must be paid for at the same rate with the
+latter. Deducting the waste in the &ldquo;flat&rdquo; from that in the &ldquo;tower,&rdquo;
+we find the balance of waste space in the &ldquo;tower&rdquo; to be equal to
+the available, showing graphically that the &ldquo;tower&rdquo; must cost, in
+these items alone, just twice as much as the &ldquo;flat.&rdquo;</p>
+
+<div class="figcenter" style="width: 600px;">
+<a name="FIGURE_4" id="FIGURE_4"></a>
+<img src="images/aabn_08.png" width="600" height="544"
+alt="Block plan comparison of space usage for apartment and independent
+buildings"
+title="Figure 4" />
+<span class="caption">Figure 4.</span>
+</div>
+
+
+<p><a href="#FIGURE_4">Figure 4</a> shows a block-plan on a very small scale of the apartment-house,
+and a block-plan on the same scale of 40 &ldquo;towers&rdquo;
+adjoining each other, and having the same available space as the
+apartment-house. These plans show how much more land is required
+to give the same accommodations (minus the conveniences
+and luxuries of an apartment-house) in the &ldquo;tower&rdquo; system than in
+the &ldquo;flat.&rdquo;</p>
+
+<p>The shaded portions in each block-plan represent the aggregate
+of available room in each case. This shows very strikingly what an
+enormous proportion of land and material is wasted in the &ldquo;tower&rdquo;
+system.</p>
+
+<p>In short, the possible saving in first cost for each family adopting
+the &ldquo;flat&rdquo; system of building lies between $14,265 and $28,758,
+making an aggregate saving for the 80 families occupying the apartment
+of between one and two millions of dollars.</p>
+
+<p>The annual running expenses are also greatly in favor of the
+&ldquo;flat&rdquo; system when the advantages of co&ouml;peration are used to its
+greatest extent.</p>
+
+<p>Eighty independent Irish cooks give way to a professional <i>chef</i> and
+half-a-dozen <i>attach&eacute;s</i>. The wages and maintenance of the 80 cooks
+would amount to an annual sum of not less than $40,000; those of
+the <i>chef</i> and his assistants to hardly $10,000, making in this one
+item a possible annual saving of $30,000.</p>
+
+<p>The management of the 80 independent Irish cooks, if possible at
+all, could only be accomplished by the constant struggle of 80
+worried and largely inexperienced owners or their wives. The
+management of the <i>chef</i> and his <i>attach&eacute;s</i> could more easily be
+managed by a single person, either selected from among the 80
+families and suitably recompensed, or employed as a professional
+manager at a regular salary. Or the entire control of the <i>caf&eacute;</i>, and
+kitchen could be let out by contract to some suitable caterer, if
+preferred.</p>
+
+<p>Corresponding savings are evidently possible in every other department
+of housekeeping, including steam-heating, ventilating,
+laundry-work, lighting and elevator-work. In all of these particulars,
+co&ouml;peration, judiciously conducted, has been shown to yield
+surprising economies.</p>
+
+<p>But there are other advantages even more important than its
+economy in favor of the &ldquo;flat.&rdquo; Freedom from housekeeping cares has
+already been touched upon. In the &ldquo;tower,&rdquo; life is spent in training
+and treating with servants, mechanics and market-men. The
+private cook is a volcano in a house, slumbering at times, but always
+ready to burst forth into destructive eruption. True repose is out
+of the question, and we are told that &ldquo;the motive for foreign travel
+of perhaps one-half of Americans is rest from household cares and
+the enjoyment of good attendance, freed from any responsibility in
+its organization and management.&rdquo;</p>
+
+<p>Security against burglary and fire is another. In a good apartment-house,
+trained watchmen stand on guard night and day to
+protect the occupants, and stand-pipes, hose and fire-buckets are
+provided in all the halls, and kept in repair for emergency.</p>
+
+<p>The family may leave their apartments for travel summer or
+winter, knowing that their property is as secure as modern appliances,
+system and ingenuity can make it. Not so with our isolated
+dwelling. The cost of providing all these means of protection
+is too great to make them practicable. The result is that the fear
+of burglary and fire at all times causes uneasiness, particularly on
+the part of the wife during the absence of her husband.</p>
+
+<p>Beauty in the architectural arrangement of the rooms is a third
+advantage of the &ldquo;flat.&rdquo; In this it has all the advantage of the
+double house or residence of the immensely rich. The rooms may
+be grouped in a manner which renders possible the highest architectural
+effect, whereas in the &ldquo;tower&rdquo; the perpendicular arrangement
+evidently precludes such opportunity by limiting the design to
+a wearisome and monotonous repetition from basement to attic.</p>
+
+<p>No argument can be sustained against the &ldquo;flat&rdquo; on the ground
+of transmission of sound or want of privacy and isolation, for sound
+may be as fully deadened as in the &ldquo;tower&rdquo; by means of the 12-inch
+brick separating walls shown in our plan, and the most improved
+deafening treatment of the floor-joists.</p>
+
+<p>Isolation may be made complete in the &ldquo;flat,&rdquo; the private halls
+and front doors of each suite being in every respect the equivalent
+of those in the &ldquo;tower&rdquo;; the only difference being that with the
+&ldquo;flat&rdquo; the outer world begins with the public hall and its elevator,
+while with the &ldquo;tower&rdquo; it begins with the public street and its
+horse-car.</p>
+
+<p>Add to these advantages the possibility for a greatly enlarged
+and delightful social intercourse which a properly arranged and conducted
+apartment-house provides, and we have as near an approach
+to the ideal of a human habitation as has yet been devised.</p>
+
+<p class="author">J. P. Putnam.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<h2><a name="ARCHITECTURE_IN_BROOKLYN" id="ARCHITECTURE_IN_BROOKLYN"></a>ARCHITECTURE IN BROOKLYN.</h2>
+
+
+<div class="figcenter" style="width: 484px;">
+<img src="images/aabn_09.png" width="484" height="600"
+alt="Monument to Franz Liszt"
+title="" />
+</div>
+
+
+<p><span class="dropcapt"><span class="dropcap">T</span></span>he city of Brooklyn has at last waked up to realize her size and
+importance architecturally. Brooklyn, though growing very
+rapidly and having many buildings of importance, has really had
+very little good architecture, for the simple reason that the profession,
+not being in any way organized, could not, as a rule, receive
+the treatment due respectable architects. For this reason many young
+men who would not be capable of practising elsewhere, have flocked
+to this city, and by various methods, many of which are far from honorable,
+have succeeded in getting control of most of the work. However,
+we hope for better things.</p>
+
+<p>The Brooklyn Institute some time ago decided to organize a Department
+of Architecture, and for this purpose a meeting of architects
+was called, which led to several more meetings and the attendance
+at these was exceedingly hopeful for the new department, some
+forty or fifty architects signifying their willingness to help along in
+the work; finally a public meeting was held in the Institute on<span class='pagenum'><a name="Page_6" id="Page_6">[Pg&nbsp;6]</a></span>
+Friday December 13, at which some six or seven hundred persons
+were present, and the Department was fully organized; the constitution
+carefully thought-out at the previous meetings was adopted, and
+the following list of officers chosen:</p>
+
+<p><i>President</i>, G. L. Morse; <i>Vice-President</i>, Louis De Coppet Berg;
+<i>Secretary</i>, William B. Tubby; <i>Treasurer</i>, Gustave A. Jahn; <i>Committee
+on Current Work</i>, Richard M. Upjohn, R. L. Daus and Louis
+De Coppet Berg; <i>Committee on Museum and Library</i>, Walter E.
+Parfitt, Pierre Le Brun; and Wm. Hamilton Gibson; <i>Committee on
+Competitions and Awards</i>, R. L. Daus, D. E. Laub, Russell Sturgis;
+<i>Committee on Professional Practice</i>, Walter Dickson, Albert F.
+D&#8217;Oench, Richard M. Upjohn; <i>Committee on Social Intercourse</i>, H. P.
+Fowler, Charles T. Mott and General Ingram.</p>
+
+<p>During the necessary intervals of balloting, etc., the President, Mr.
+George L. Morse, made a short address, setting forth the history of
+the previous meetings, and congratulating the local architects on the
+prospect of having a strong and well-organized society.</p>
+
+<p>Mr. Louis De Coppet Berg, of the firm of J. C. Cady &amp; Co., Architects,
+then addressed the meeting as follows:&mdash;</p>
+
+<div class="blockquot"><p>When a young man enters a profession, and particularly the profession
+of architecture, if perchance he gets an original idea, or a
+little knowledge, he at once becomes very secretive, tries to keep it
+all to himself for fear some one else will benefit by it, and marks all
+his drawings &ldquo;The property of...,&rdquo; and &ldquo;Not to be copied, or
+used, without the consent of the author, <i>under penalty of the law</i>.&rdquo;
+As he grows a little older in his profession he begins to find out that
+a few others have ideas as well as himself, and know a little something
+once in a while; and as he grows still older he finds that there
+are a great many others, who know a great deal more than he does,
+and who have a great many better ideas than he has; and then it
+is, that he longs for communication with his professional brethren,
+and he finds that, in order to get the benefit of their ideas and knowledge,
+he must freely communicate his own to them. Hence it is that
+in most of the large cities we find some association of architects;
+Brooklyn, however, the third city of the Union, is unique in this
+respect, that it has absolutely no place where professional architects
+can meet and discuss the different problems of their profession.</p>
+
+<p>To remedy this evil, the Brooklyn Institute proposed to establish
+a Department of Architecture, and for this purpose called together a
+large number of local architects.</p>
+
+<p>Now, we have decided that, if we have any Department at all, it
+shall be a live one; and this reminds me of a squib I read in the
+paper the other day, telling how, somewhere in Spain, they had unearthed
+an old painting, which was pronounced a genuine Murillo.
+It was said that the experts could not as yet determine whether the
+subject of the cracked and dingy old canvas was a Madonna or a
+Bull Fight, but that, nevertheless, they did not hesitate to declare that
+it was a great acquisition to art. Now, that is the trouble with most
+associations of architects; if the subject for discussion is only old,
+cracked and dingy enough, they are happy. Nothing delights them
+more than to spend all their time and energies in discussing Etruscan
+or other antique architectures, or the exact differentiations between
+the many styles of architecture. Now, while we value the history of
+an art, and shall give it all due attention, we propose to remember
+that the modern architect, besides being an artist, must be one of the
+most practical and executive of business men.</p>
+
+<p>We admit that our ancestors in the profession designed beautiful
+castles, magnificent cathedrals and lovely ch&acirc;teaux, but we remember
+that these castles, these cathedrals, these ch&acirc;teaux were planned
+without any comfort; that they had no plumbing devices, no methods
+for cooking, no systems of heating or ventilation, and no way of getting
+light but the miserable taper; while to-day the architect, besides
+being a thorough artist, who knows how to design and to color, besides
+being thoroughly up in the history of his art, must know how
+to plan for comfort, to construct for strength and stability; must understand
+all the details of boilers, machinery, dynamos, electric-wiring,
+heating and ventilating systems, plumbing and sanitation, and lastly
+must be able to manage the complicated finances of large undertakings.</p>
+
+<p>Now, to carry out these ideas in our work, we shall, in the first
+place, establish a museum and library, to which we shall welcome all
+gifts of books, pictures, models, casts, etc., whether illustrating the
+artistic, or the practical side of the profession. Then we shall have
+a course of monthly, public lectures by competent authorities, the
+subjects of which will probably be very largely chosen from the artistic
+side of the profession. We also propose to have stated meetings
+of the Department monthly, at which some carefully selected papers
+will be read by experts, the subjects of which will be given out as
+long in advance as possible, in order that all may be thoroughly prepared
+for a full and open discussion; and then, after these meetings,
+in order to promote sociability amongst the members, and to show
+how thoroughly practical we are, we propose to have something to
+eat. We also hope later to establish schools, not only for young men,
+but particularly for draughtsmen, where they can be taught, not only
+the art of drawing, but also the many practical branches connected
+with the profession.</p></div>
+
+<p>The meeting was also addressed by the Rev. Dr. Chas. H. Hall,
+President of the Associate Members. He spoke at great length and
+kept his audience intensely interested by describing his own acquaintance
+with architecture, beginning with the original negro
+log-house down South, then the prim buildings of old Andover and Harvard,
+and finally how he saw the great former St. Ann&#8217;s of Brooklyn,
+the likeness of which, he said, could be seen any day on the piers of
+New York when they were unloading dry-goods boxes; and how he
+finally went abroad and saw the beautiful architecture of Paris, which
+he could not praise enough. He was also unstinted in his praise of
+the modern beauty and architecture of Washington. He also spoke
+of his visits to London, and, while he admitted that Englishmen
+thought their architecture beautiful, he took exception, and claimed
+that the great St. Paul&#8217;s, though beautiful to the English eye, was a
+cold barren building, blacked with smoke inside and out, a place where
+you could not be comfortable, nor hear the speaker at any distance.
+We regret that we are not able to give a verbatim account of his
+witty address.</p>
+
+<p>At the end of Dr. Hall&#8217;s address, the lecturer of the evening,
+Professor Russell Sturgis, architect, of New York, addressed the
+meeting as follows, his subject being &ldquo;The Study of Architecture,&rdquo;
+with particular reference to the architecture of to-day.</p>
+
+
+<h3>ADDRESS OF MR. RUSSELL STURGIS.</h3>
+
+<p>With regard to architecture and all the arts of decoration, there
+is a strange difference between the practice of them, and such study
+as looks toward practice, on the one hand, and the history and theory
+of them, with such study as that involves, on the other. Quite completely
+are these two studies separated, each from the other. A man
+may be most active and successful as a practising designer, and successful
+in an artistic way, too, with no knowledge and little thought
+of the history of his own branch of art, and with little curiosity as
+to its philosophy or its poetry. And, on the other hand, a man may
+be a very earnest student, and a happy and delighted student of the
+history and criticism of art, and know nothing, and care as little,
+about the profession or practice of any art, or about studio ways and
+studio traditions. I do not know that in any branch of human study
+this distinction is so marked and so strong. This is to be regretted,
+for many reasons, but it can hardly be done away with so long as the
+community is generally careless of both the theoretical and the practical&mdash;so
+long as the students and the practitioners alike feel themselves
+nearly isolated units, floating in a sea of good-humored indifference.
+This state of things only time can alter. Only time can
+civilize our new community in intellectual and perspective matters;
+but there are some other conditions which are more immediately in
+our power to modify, perhaps&mdash;let us see:</p>
+
+<p>It is as true as if it had not been repeated, even to fatigue and
+boredom, that the arts of decoration have been in a bad way for a
+good part of the century past, at least among some European and
+Europeanized nations. I do not imagine that a Frenchman would
+admit that architecture and the arts of decoration had ever languished
+in his own society. Your cultivated Frenchman would say
+that some periods were better than others, but that there were no
+bad periods; he would say that, to be sure, the style of the First
+Napoleon&#8217;s Empire was not a very fortunate style,&mdash;too stiff, too
+absurdly pseudo-classic, unworthy of France, a poor enough successor
+of the dainty and playful art of Louis XV, or the somewhat
+more refined and restrained art of Louis XVI: but he would say
+that it was art still, and the period a not wholly inartistic period;
+and even of the dull times of the Napoleon of Peace, from 1830 to
+1848, while he would confess to a great deal of languor and lack of
+public spirit of all sorts, except in the struggle which the Romantic
+artists, headed by Delacroix, waged with the Classicists, headed by
+Ingres; while he would admit that the abundant wood-cuts and lithographs,
+the painting and statues much less abundant even in proportion,
+and the buildings very few and unimportant, were not sufficient
+to make up a great artistical epoch, that is, for France; yet as for
+its being an epoch without art,&mdash;such a thing as that, he would say
+France had not known since she was France. And he would be
+right.</p>
+
+<p>But if said of England it would be pretty nearly true, if it were
+said that the whole amount of art of the decorative kind that existed
+in England between 1810 and 1850, for instance, would fill but a
+small museum, and that its quality would fill but slight requirements,
+it would require a bold Anglophil to contradict. There came a dull
+pall, like that of her own black fogs, over social London, and the
+stucco-fronted languors of Baker Street and Portland Place are no
+worse than were the dull monotony of the interiors behind them.
+Veneered and polished mahogany furniture, very much too large and
+too heavy for the rooms; black haircloth, like the grave clothes of
+Art, for the covering of everything that could be sat upon; cold,
+brownish-red curtains, of shiny but not lustrous material; silver candlesticks
+of monstrous design,&mdash;these, and such as these, were the
+decorative objects which our fathers or our grandfathers admired, or
+felt that they must admire for want of better, during the unhappy
+years that I have cited. The delicate carvings that the furniture of
+a generation just previous had received, were forgotten. People put
+up with Chippendale chairs in their dining-rooms because they had
+belonged to their fathers and nothing special was offered to take their
+place; but there is no record that they cared for them. The richer
+and more fantastic carvings of Grinling Gibbons had never obtained
+any general recognition nor availed to modify the woodwork of the
+domestic interiors of England. The brocades and flowered silks
+which the eighteenth century had revelled in, and if in England not
+strong enough artistically to produce them itself, had brought into
+England from other lands;&mdash;these were replaced by the dismal<span class='pagenum'><a name="Page_7" id="Page_7">[Pg&nbsp;7]</a></span>
+things I have alluded to, and no vestige of them seems to have
+remained in the parlors of that unhappy time.</p>
+
+<p>Richness of costume had disappeared with the wars of the French
+Revolution. Embroidered silk coats had given place gradually to
+claret-colored and blue broadcloth, and this gave place to black,
+and all variety in costume had disappeared completely; and now, from
+1810 to 1850, fantastically varied and interesting house-furnishing
+and decoration had followed, as I suppose it inevitably must follow;
+costume, being, one fears, a necessary part of anything like a prosperous
+artistic epoch.</p>
+
+<p>Out of this gloomy depression the Anglo-Saxon world, in England
+and in this country, is trying to emerge. It began its efforts with
+the perfectly natural conviction that by studying the artistic history
+of the past, something could be done to benefit the arts of the present.
+The Gothic revival, which you have heard of so much, and which
+was followed with real ardor and with unquestioning zeal by crowds
+of devotees for years, beginning with, perhaps, 1840, was an attempt
+along the most obvious lines,&mdash;along what seemed to be the line of
+least resistance, to change the metaphor. To develop anew an old
+art, which had flourished so greatly in the past,&mdash;how easy! and
+how certain! How certain were the enthusiasts of that time, that
+by earnestly poring over and closely analyzing and heartily loving
+the buildings of the thirteenth and fourteenth centuries, such buildings,
+and others like them, could be built in the nineteenth! How
+happy was the conviction of all these men that it was not more difficult
+than that! The secret of what had been done was to be found
+in the phenomena themselves. There, in this parish church, in this
+cathedral, lay the secret of their charm. Let us analyze first, they
+said, and let us put together again the ingredients that our analysis
+shall have discovered, and we will re-create the thing that we are in
+search of.</p>
+
+<p>In like manner, in the minor arts, the people of 1850 felt, or
+some of them did, that they did not know how to weave curtains
+that it was worth any one&#8217;s while to hang up, except to shut out the
+light and shut in the warmth; that so far as beauty of texture,
+beauty of pattern, and beauty of color went, they were powerless to
+produce anything of any avail. But they saw that the Venetians of
+the sixteenth century and the Florentines of the seventeenth century
+and the French of the eighteenth century had produced splendid
+stuffs; and although there were no museums in those days that
+condescended to anything so humble, such stuffs were still to be
+bought of the bric-&agrave;-brac dealers, and very cheap, too, and still
+existed, rolled up in some old garrets. By studying them, surely the
+art of making others like them could be learned. And so around
+the whole circle of the arts of decoration, it was believed, and in
+thoroughly good faith, and with, as it seemed, perfectly good reason,
+that the study of what had been would suffice, with zeal and patience
+and good will, to the production of what should be.</p>
+
+<p>Well, the experiment has failed. Arch&aelig;ology is the most delightful
+of pursuits, but it is not particularly conducive of good art. The
+German professor, who knows the most about Phidian sculpture, is as
+far as his youngest pupil from being able to produce anything
+Phidian, but, of course, this is not a fair example. The German
+professor does not profess to be a sculptor. Let us say then, that
+that sculptor now alive who knows the most, theoretically and historically
+about Greek art, is as far as his most ignorant contemporary
+and rival from having Greek methods of work. This is a safe proposition.
+I do not know who he is, nor can any one tell me. It is not
+a question of men, but of principles. The study of the monuments
+of art is one thing, their analysis, their criticism, their comparison,
+is one of the most attractive, the most fascinating, the most stimulating,
+the most absorbing of studies, one that I shall never cease commending
+in the most earnest way to all those persons to whom scholarship
+is dear and to whom it is a question of recommending a study
+which is worthy of their most earnest and hearty devotion, but it is
+not the study of practical art, that is another and a very different
+thing.</p>
+
+<p>The way to make good sculpture is to let the youth thumb and
+punch and dabble in wet clay, and see what he can make of it; and
+the way to make a painter is to give the boy now a burnt stick, and
+at another time a pin and a back of a looking-glass, and see what he
+can delineate with such materials as these and with all other materials
+with which a line can be drawn. To look at the world, and what
+it contains, and to try and render what is suggested to him,&mdash;that
+is the training for the artist, and it has more to do with our beloved
+study of arch&aelig;ology than if they were not concerned with the same
+subject. This, I say, has been proven. Sad experience, the waste of
+forty years of work, disappointment and despair, have taught some
+of our artists what others did not need to learn,&mdash;that the way to
+succeed was not through study of the past. The artist has no primary
+need of arch&aelig;ological knowledge; the arch&aelig;ologist has no need of
+any fact that the artist can furnish him with.</p>
+
+<p>Suggestions; yes! Each side can furnish the other with suggestions
+in abundance, and suggestions which each can immediately profit by.
+An able artist, if a fellow of modesty and frank speech, can hardly
+talk without giving the student of the theory of art hints which the
+latter should study over at home before he sleeps upon them; for
+the secret of much that is vital and essential in his study is to be
+found in these hints; and on the other hand, I imagine that an artist
+would be better off, and have more play of mind, and readier and
+fresher conceptions, if he would now and then listen to what the student
+of old art has to tell him about what is to be observed in this or
+that monument of the past. But beyond that there is no connection
+between them. I will run two <i>ateliers</i> side by side, one for arch&aelig;ologists,
+and one for practical students of architecture and they need
+never mix.</p>
+
+<p>This will be more readily admitted, perhaps, in the case of the
+arts of expression than in the case of arts of decoration and let us define
+these terms. If you will allow me, I will quote from an address
+delivered a year ago before the New York Architectural League.
+Any work of art whose object is to explain and express the thing
+represented, or to convey the artist&#8217;s thought about the thing represented,
+is art of representation, or, if you please, art of expression,
+or if you please, expressional art. I offer these as nearly synonymous
+terms. But if, on the other hand, the work of art has for its object
+the adornment of a surface of any sort, as a weapon, a utensil, an
+article of costume, and if the natural objects represented or suggested
+are used only as suggestions to furnish pretty lines and pleasant tints,
+which lines and tints might have been after all represented apart from
+the object were man&#8217;s mind more creative than it is,&mdash;that is art of
+decoration.</p>
+
+<p>Now, architecture, you see, is primarily an industrial affair, a
+method of covering men in from the rain, and admitting light into
+their protected interiors, and of warming those interiors, and in a few
+rare cases of ventilating them, and in providing a variety of apartments,
+communications, and the like for the varied requirements of a
+complicated existence; and it need not put on any artistic character
+at all. But as architecture becomes a fine art, it is perforce one of
+the arts of decoration. It has nothing to do with the arts of expression.
+Mr. Ruskin and all his life work to the contrary, notwithstanding,
+the business of building is not to tell tales about the world and
+its contents, not to set forth the truths of botany or of zoology, or of
+humanity, or of theology. If zoological or botanical or human objects
+are introduced, or representations of them, it is not for the sake of
+information that can be given about these interesting things, nor for
+the sake of expressing the artist&#8217;s mind about them, nor for the sake
+of saying anything whatever in regard to them. It is for the sake of
+making the building beautiful. When the Oxford Museum stood
+presenting to the street a flat-fronted wall, diversed with pointed
+arches, and carvers were set to work bands of rich sculpture around
+the windows; although Mr. Ruskin had a great deal to do with that
+edifice, and architects of his own choosing were in charge of it, and
+clever Irish workmen of his own approval were producing the interesting
+carvings of those archivolts and tympanums, in spite of all
+theories, the object aimed at and the object attained by that outlay
+of time and money and skill was the beautifying of the building, and
+this was achieved to an extent probably beyond what its planners
+proposed to themselves, for the effect of well-applied sculpture upon
+a building is beneficial to an extent that would never be believed by
+one who has not often watched the changes that can be wrought in
+this way. They who have said that the Gothic Cathedral is nothing
+but a work of associated sculpture are not far wrong, and to produce
+a lovely building, one would rather have the blankest malt-house or
+brewery in New York, and some good carvers set to work upon it,
+than to have the richest architectural achievement of our time, devoid
+as it is and must be of decorative sculpture. For to get decorative
+sculpture, you must have your sculptors; and they, you know,
+are wanting. Where are the men who will model capitals and panels
+in clay, with some sense of ornamental effect? We have the men who
+can make a copy in relief of an architect&#8217;s drawings: but then the
+architect, even if he have the sense of ornamental effect, in the first
+place can never draw out, full size and with care, all the work required
+in a rich building, and, in second place, can never design
+sculptured form aright by mere drawings on the flat. The architects
+of New York and Brooklyn are employing today, I suppose, 3,000
+draughtsmen, of which number two or three hundred at least are engaged
+most of the time in making large scale and full-size drawings
+of architectural detail, in which sculpture plays a large part. Well,
+we need as many modellers, who, either in architects&#8217; offices, or in
+stone-cutters&#8217; yards and terra-cotta works, shall be putting into tangible
+form the dreams and thoughts of the designer&#8217;s brain. &ldquo;As
+many,&rdquo; do I say? Once it is found that architectural sculpture can
+be got promptly and cheaply, and conveniently, it is not 200 modellers
+only that this big community around the big bridge will need;
+but architects will engage three or four or a dozen at a time, as they
+now engage draughtsmen when big jobs come in.</p>
+
+<p>For so the relative success and power today of the arts of expression
+seem to assure us. When we come to look into the subject, we
+find that modern life, which finds its expression freely in prose and
+in verse, and to a slight extent in music, finds some expression also
+in those arts which deal with expression. It is perhaps not a great
+artistic epoch that we are living in, although, if some one were to rise
+by and by, and maintain that it was, I would not be sure that he was
+wrong. It is certainly a kind of novel and in many ways admirable
+art in the way of expression. Great thoughts have found expression
+almost worthy of them in painting, in sculpture, in etching, in wood-engravings,
+in color and in black-and-white; in the single costly work
+of art and in the easily multiplied and cheap productions of the press.
+It is true that in these the thoughts are not always worthy of the expression
+they receive. This is partly because we have nearly lost
+the desire of talking about our religious beliefs in line and color and
+modelled form, and that no other subject of equal universal interest
+has taken the place of the ancient, simple and popular theology.</p>
+
+<p>Patriotism, as shown in scenes of battle and pictures of deeds of<span class='pagenum'><a name="Page_8" id="Page_8">[Pg&nbsp;8]</a></span>
+gallantry and self-sacrifice; poetry, as seen in pictures which suggest
+sweet thoughts of young love and of home affections and of
+childish grace; the love of wild nature, as seen in our school of
+landscape art, now nearly fifty years old and flourishing&mdash;none
+of these nor all of them together have quite replaced the priestly
+theology of the Middle Ages as a subject for art, for none are quite
+so universal or appeal quite so readily to the untutored eye and
+mind. And so the uniform is better painted than the soldier very
+often, and the outside of nature than her inward spirit, and the flesh
+of the baby or the golden hair of the girl better than the baby
+nature or the girl nature in each instance. But this is to be stated
+merely as a drawback from praise which would otherwise be too unmeasured
+and too universal. The world contains a vast amount of
+good art of very recent date, and every year adds to the amount.
+The worst thing that can be said of the time is that it should be
+capable of producing so incalculably great an amount of bad art at
+the same time; that the walls of the Paris <i>Salon</i> should be so hung
+with inferior work every year that the important pictures are lost in
+chaos; and that, while this is true of the <i>Salon</i>, it is true to an immeasurably
+greater degree of the Royal Academy, of the New York
+Academy and every other exhibition in the world, except where a
+selected few paintings hang on reserved walls.</p>
+
+<p>And as for sculpture, that is to say expressional sculpture, it is
+even more true in this case that the poor works terribly outnumber
+the good ones, though this is less noticed and makes less impression
+on the public. Our English-speaking communities do not even think of
+sculpture as a thing to look to for any refined enjoyment. How far the
+labors of a dozen living men, all Frenchmen but two or three, may
+have sufficed during the past score of years to change the public mind
+in this matter, I am not ready to say; but, surely, it has not been the
+general thought that sculpture is anything more than an expensive and
+perfunctory way of doing one&#8217;s duty to a great occasion or a great
+man. This, however, is temporary. The good sculpture exists and
+will be recognized. So much for expressional art.</p>
+
+<p>But, as for the arts of decoration, once more, there is not so much
+to be said. As yet the way to subdue technicalities and enthrone design
+has not been discovered. The way to produce beautiful
+buildings is known to none. The way to produce good interior
+decoration, good furniture, good jewelry, beautiful stuffs, has only
+been seen by here and there one, and his lead no one will follow.
+The fact of his having done a fine thing, or of his doing fine things
+habitually, acts not as an attraction to others, but as a warning to
+them to keep off. Every artist strives to do, not as his neighbor
+has done, and better, but as his neighbor has not done. The potteries
+work no better, because of one pottery which turns out
+beautiful work. The wall-paper makers still copy, slavishly from
+Europe and Japan, fortunately if they do not spoil in copying, in
+spite of the occasional production of a wall-paper which an artist has
+succeeded in. The carpet-weavers caricature Oriental designs by
+taking out of them all movement and spirit, while their best
+customers buy the original rugs. If some rich man were to make a
+museum of modern decorative art, from which he would carefully exclude
+all that which was not in some way fresh and intelligent, and
+if not good, at least promising, a room like this one would hold all his
+trophies, even though he should use his millions to ransack Europe and
+America. It is nobody&#8217;s fault, least of all is it the architect&#8217;s fault.
+For see what you expect of an architect. He must know about
+digging deep holes; and about sheath-piling, that he may retain the
+loose soil and keep it from smothering the workmen at the bottom of
+his excavation; and he must know the best machines to use for drilling
+rock and the best method for removing it; he must know about
+all the stones in the country and the best way of making concrete;
+he must be familiar with the thousand new inventions, and discriminate
+carefully and rightly between this range and that, and
+between this form of trap and the other, between a dozen different
+steam-heaters and twenty systems of ventilation; he must be prepared
+to give his owners exactly what they want in the way of windows and
+chimney-corners, of cupboards, shelves in available corners, and recesses
+to put away step-ladders and brooms. But observe that if he
+fails in any one of these things, he will fail in that which his owner really
+cares about; still more, if he fails in the economical administration
+of the funds allowed for the building, will he fail in that which the
+owner most cares about. Less beauty, less success in producing a
+novel, an original, a thoughtful, a purposeful design will hurt him
+but little, but insufficient care as to the circulation of hot-water will
+ruin him.</p>
+
+<p>Now, no man can do all that, and still produce delicate and
+thoughtful designs. No man can be busy laying out work, superintending
+work, explaining to contractors and reasoning with
+employers, and still be producing delicate and thoughtful designs. An
+extraordinary fellow here and there may surprise us by what he
+does under such circumstances, but it will be but little and feeble in
+comparison with what he might do. The community must see its
+way to paying some to eschew plumbing and stick to design, if they
+mean to have any design. This has been done, indeed, in the matter
+of monumental-glass, and to a certain extent in wall-decoration by
+means of painting; but it must be done in what is more vital yet&mdash;in
+architectural sculpture of all sorts and all grades; of vegetable,
+animal and human subjects; in low relief, in high relief and in the
+round; in detached work and associated groups&mdash;or no architecture
+for us. I say, then, that as things are constituted, the architects
+are not particularly to blame for not having achieved much in
+the way of decorative art, either on the exteriors of their great buildings
+or in the beauty of their interiors. Not much to blame; but
+yet they are so far to blame as that no one else is to do this work
+if they do not. The architects and the artists who are associated
+with them in the work of supplying us with what we call decorative
+arts of all sorts, form the only class of the community to whom the
+rest of the community can look to for advancement in this direction.
+It is probable, then, that what such an associate has to do is two-fold;
+or rather it has two things to do: One is to study the beautiful
+art of the past, and to study it patiently and lovingly, feeling confident
+of this that the interests of the pursuit grow more absorbing
+every day; and the other is to watch the arts of the present, and to
+keep an open and perspective mind with regard to them, feeling
+sure of this that they will grow more complex and interesting every
+day, and that now and again some chance of something good will
+appear, here and there, giving us great opportunities to help, if we
+are clever enough to perceive them.</p>
+
+<p>The study of the arts of the past is more entrancing every day
+because we are so much better informed, because we are daily better
+informed about them. Arch&aelig;ology, having gone through a long
+apprenticeship, is doing wonders today; and, although ancient buildings
+are suffering from the accursed restorer, they are also more
+thoroughly known, more rightly judged, more sympathetically
+analyzed than ever before; while monuments other than buildings,
+those, that is, that are not open to the attacks of the restorer, are
+preserved in practical safety, and they also are minutely and
+honestly studied in a way of which our ancestors knew nothing.
+There is, therefore, more pleasure to be got out of the study of
+ancient art today than ever before, and that condition of things is a
+permanent one. Our children will have even better opportunities
+than we.</p>
+
+<p>And, as for the arts of the present, the arts that are being produced
+around us, they are to be looked at as calmly and temperately;
+with, on the other hand, as little as possible of that
+provincial which makes cathedrals out of carpenters&#8217; Gothic
+churches, and, on the other hand, without carping, but with good-natured
+patience, with a feeling that if things are not very good, they
+can hardly be expected to be better; that we, in this country at
+least, are only half-civilized in the ways of cultivation, and we do
+uncommonly well for such babes as we are in literature and art.
+With patience then, and with impatience about nothing but this,
+that we deny ourselves the study of the great works of art of
+Europe and Asia by thirty per cent and forty per cent and sixty per
+cent duty, and deny to the author all proper remuneration for his
+work by the lack of common honesty. No other nation of European
+blood does these things. It is not a matter of politics. No protectionists
+so ardent in the Bismarck ranks as to propose to levy a tax
+on literature and science. No selfish grabber so small, even among
+peoples whom we consider less honest than we, who approves of
+stealing an author&#8217;s books under color of the law. While we send
+to Washington Congressmen who keep such laws on the statute-books,
+our community is not &ldquo;barbarous&rdquo; so much as savage; for
+such acts are the acts of savages; that is, of men who have no
+reasonable motive for their acts, but act impulsively, like grown-up
+children.</p>
+
+<p>And now, after this evening, let us return from theory and
+general principles, to practice and details, and see whether we can
+find out how it is that Indians combine color, how Japanese use
+natural form decoratively, how Chinamen make porcelain lovely and
+noble; how Greeks of old time have sculptured and Frenchmen have
+created Gothic architecture, and Italians have raised painting to the
+highest heaven of achievement. There is happiness, if study can
+give it. And for those to whom scholarship is less attractive than
+action and production, there is sculpture in small and large, in
+stone, marble, terra-cotta, wax, clay, plaster, bronze, iron, lead, gold
+and silver; there is inlay of all material and styles, from square tiles
+to minute glass tesser&aelig;; there is painting with all known vehicles
+and of all sorts; the whole to be devoted to the beautifying of buildings
+in which we have to live and work and rest. There is a plenty
+to do for those who know how to begin.</p>
+
+<hr style='width: 45%;' />
+
+<p><span class="smcap">To Protect Plate-glass in Building.</span>&mdash;Passing along Dearborn
+Street, recently, I saw a crowd watching closely the placing in
+position of some enormous panes of glass in a handsome new building.
+The glass was the best French plate, and the workmen handled it as
+carefully as if it were worth something more than a week&#8217;s wages.
+The task of putting it in place was no sooner completed than one of
+the workmen grabbed a pot of whiting and with a big brush daubed a
+lot of meaningless marks on it. I thought it about as silly a thing as
+a man could do, and with the usual reportorial curiosity asked the foreman
+why he allowed it. The answer was a crusher. &ldquo;Why,&rdquo; said he,
+&ldquo;we have to mark them in that way or they&#8217;d be smashed in no time.&rdquo;
+My look of amazement doubtless prompted him to further explanation,
+for he said: &ldquo;You see, the workmen around a new building get in the
+custom of shoving lumber, etc., through the open sash before the glass
+is put in. They would continue to do it even after the glass is in if we
+didn&#8217;t do something to attract their attention. That&#8217;s the reason you
+always see new windows daubed with glaring white marks. Even if a
+careless workman does start to shove a stick of timber through a costly
+plate of glass he will stop short when his eye catches the danger sign.
+That white mark is just a signal which says, &#8216;Look out; you&#8217;ll break
+me if you are not careful.&#8217;&rdquo;&mdash;<i>Chicago Journal.</i></p>
+
+
+
+<hr style="width: 65%;" />
+
+<p><span class='pagenum'><a name="Page_9" id="Page_9">[Pg&nbsp;9]</a></span></p>
+<h2><a name="THE_STRUCTURE_OF_SANDSTONE" id="THE_STRUCTURE_OF_SANDSTONE"></a>THE STRUCTURE OF SANDSTONE.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a></h2>
+
+<h3>AS AFFECTING ARCHITECTURAL AND ENGINEERING WORKS.</h3>
+
+
+<div class="figcenter" style="width: 468px;">
+<img src="images/aabn_10.png" width="468" height="600"
+alt="Statue of two men on a pedestal in a city setting"
+title="" />
+</div>
+
+
+<p><span class="dropcapt"><span class="dropcap">T</span></span>he native stones we Liverpool architects have at command are
+all sandstones belonging to the geological division called the
+Trias, or, in older phraseology, the &ldquo;New Red Sandstone,&rdquo;
+which lies above the coal-measures. The term &ldquo;New Red&rdquo; was
+given to distinguish these rocks from the &ldquo;Old Red,&rdquo; which lies below
+the Mountain Limestone, the lowest division of the carboniferous
+rocks. It is, perhaps, needless to remark that the &ldquo;New Red&rdquo; is
+not always red; sometimes it is yellow, at others, like some of the
+Storeton stone, white. These red rocks occupy a large part of Lancashire
+and Cheshire, and especially in the latter county give the
+characteristic scenery which distinguishes it. The escarpment of the
+Peckforton Hills of which Beeston Castle Hill is an outlier, and that
+at Malpas, farther south, gives rise to some very beautiful scenery;
+and again at Grinshill and Hawkstone, in Shropshire, we have a
+repetition of much the same kind of landscape. It will be necessary
+for my purpose to say briefly that these red rocks have been divided
+into the &ldquo;Bunter&rdquo; and &ldquo;Keuper&rdquo;; the lower division, the Bunter,
+occupying most of the ground about Liverpool; the upper, the Keuper,
+being more developed on the Cheshire side. All these sandstones
+are not fit for building purposes, and those that are so used
+differ considerably in their durability. It is my object in this short
+Paper to show upon what the perfection or imperfection of the various
+stones for building purposes depends&mdash;a matter of great moment
+to an architect or engineer who is desirous that his work should last.</p>
+
+<p>Sandstones, or, in masons&#8217; language, &ldquo;free-stones,&rdquo; from the freedom
+with which most of them are worked when freshly taken from
+the quarry, are plastic or sedimentary rocks. That is, they are composed
+of separate particles which have once existed as sand, like that
+we see on our own shores, or in the sand dunes of Hoylake or Crosby.
+Sandstones are usually more or less laminated, and are stronger
+to transverse stress at right angles to their natural bedding than in
+any other direction, a fact recognized in every architect&#8217;s specification,
+which states &ldquo;all stones must be laid on their natural bed,&rdquo; a
+direction that unfortunately sometimes begins and ends in the specification.
+The cause of the superior strength is not, however, generally
+understood.</p>
+
+<p>I have devoted some considerable time to an investigation of the
+internal structure of sandstones, which I have communicated from
+time to time to various scientific societies and publications, and will
+now briefly explain it in a manner I judge will be most likely to interest
+architects and engineers. The particles or grains of which the
+rock is built up are of various forms and sizes, from a thoroughly
+rounded grain, almost like small shot, to a broken and jagged structure,
+and to others possessing crystalline faces. These grains, most
+of them possessing a longer axis, have been rolled backwards and
+forwards by the tides or by river-currents. The larger grains naturally
+lie on their sides when freshly deposited, with their axes in
+the plane of bedding; the smaller and more rounded particles naturally
+tend to occupy the interstices between the others, and in this
+way rude divisional planes or laminations are formed. Each layer
+forms a sort of course like coursed-rubble in a wall, and by the necessities
+of deposition a certain rude geometric arrangement results,
+by which the particles of the future rock overlap each other, and
+thereby gain what is known to architects as bond.</p>
+
+<p>But, so far, this is only like &ldquo;dry walling,&rdquo; the mass wants cementing
+together to make it solid. The cementing process happens in
+this way in our rocks, which are almost purely silicious: Water containing
+a minute quantity of carbonic acid in solution, which most
+rain-water does, especially when it comes into contact with decaying
+vegetation, has the power of dissolving silica to a slight extent.
+This is proved in various ways, and is shown in the fact that all river
+water contains more or less silica in solution.</p>
+
+<p>The circulation of water through the sand deposit of which our
+rocks are made dissolves part of the grains, and the silica taken up
+is redeposited on others. I cannot explain the chemical reaction
+that produces this deposition, but that it takes place in the rock during
+some period of its history is certain. I exhibit a quartzite pebble
+taken from the Triassic sandstone at Stanlow Point, which, as can
+be easily seen, was at one time worn perfectly smooth by attrition and
+long-continued wear, for the quartzite is very hard. Upon this worn
+surface you will see spangles and facets which reflect the light, and
+on closer inspection it will be evident that they are crystals of quartz
+that have been deposited upon the surface of the worn pebble after
+it became finally enclosed in the rock.</p>
+
+<p>A microscopic examination of the granules of the rock itself will
+show that many of them have had crystalline quartz deposited upon
+their surfaces, and in some cases rounded grains have in this way
+become almost perfect crystals.</p>
+
+<p>An examination of the best sandstones for building purposes shows
+that they possess more of these crystalline particles than the inferior
+ones, and a good silicious sandstone shows its good quality by a fresh
+fracture sparkling in the sun. In addition to these crystalline deposits
+of silica I believe it exists also as a cement which binds the particles
+together when in contact.</p>
+
+<p>It certainly is, however, with this secondary silica that the original
+sand has become a building stone, and the particles have become interlaced
+and bound together. Thus, in building parlance, the grains
+are the rubble of the wall, the currents the quarrymen, masons and
+laborers, and the silicious infiltration the mortar.</p>
+
+<p>And now, when I am on the subject, I may point out that this hard
+and compact quartzite pebble was also once loose sand. The only
+difference between the sandstone in which it was imbedded and itself
+is that in the latter case the process of silicious deposit has gone further,
+so that all the interstices between the grains have been absolutely
+filled up with the cement.</p>
+
+<p>It is not possible to see this clearly with the naked eye, but by the
+aid of a slice of the rock prepared for the microscope the granular
+structure of the quartzite is made perfectly plain. So much for the
+mechanical, chemical, and molecular structure of sandstone, all of
+which affect the strength and quality of the stone; but to architects
+there is another element of consequence, namely, the color. The rich
+red of our Triassic sandstones is due to a pellicle of peroxide of iron
+coating each of the grains. That this is merely surface coloring is
+shown by the fact that hydro-chloric acid will discharge the color and
+leave the grains translucent. Unfortunately the most brilliantly colored
+stone is not the most durable, and it so happens that these brilliant
+red sandstones are often composed of exceedingly rounded
+grains. Also some of the very red sandstone has an interfilling of a
+loose argillaceous irony matter detrimental to the stone as a building
+stone. The most durable of the red sandstones are those having a
+paler or grayer hue, like those of Woolton, Everton, and Runcorn.
+This distinction of color was brought freshly to my mind a short time
+since in looking at the church of Llandyrnog, in the Vale of Clwyd, a
+few miles from Ruthin. Some of the dressings, quoins for instance,
+were of a very brilliant-colored red sandstone, and others of a pale
+gray or purple red. It struck me that these latter must be of Runcorn
+stone, which I was afterwards informed was the case. The very red
+stone was the natural stone of the Vale, originally used for dressings,
+which were replaced, on the restorations being made, with Runcorn
+stone. The original stone was &aelig;sthetically the best, but the introduced
+stone the best structurally. The old stone of Chester Cathedral
+was a very red Bunter sandstone, which decayed badly. It has
+been replaced in the restorations by Runcorn stone, which belongs to
+the Keuper division, which has caused the Geological Surveyors to
+say that the Keuper is a better building stone than the Bunter. In
+this case it is; but, on the other hand, the Bunter sandstones, or
+Pebble-beds, as they are called, near Liverpool, are often better than
+the Runcorn Keuper. The Runcorn building stone lies between two
+beds of very red loose rock, showing that it is not its geological
+position, but its <i>structure</i>, that makes it a good durable stone.</p>
+
+<p>It is a remarkable fact that most of the pebbles included in the
+red rocks are quartzites, or indurated silicious sandstones; and, as
+showing that their solidity and hardness are due only to a further
+continuance of the deposit of silica in the interstices, it has been
+proved that the purple quartzites are purple only by reason of the
+original coloration of the grains which have been enclosed between
+the original grains and the secondary silica. Yellow sandstone is
+colored also by iron, and I have frequently seen the red sandstone
+shading of to the yellow without any division whatever. The various
+shades and tints of sandstone are necessarily due to the coloration of
+the individual grains.</p>
+
+<p>Most of you will, no doubt, have observed the sort of marbling or
+grain upon the stone of our old buildings, such as the Town-Hall,
+which I believe was obtained from quarries occupying the site of the<span class='pagenum'><a name="Page_10" id="Page_10">[Pg&nbsp;10]</a></span>
+St. James&#8217;s Cemetery. This is due to what is called current bedding;
+that is to say, the grains have been arranged along oblique lines and
+curves instead of in parallel lamin&aelig;. This stone, which is geologically
+equivalent to the Storeton Stone, and of the same nature, has stood
+very well. Some of the Storeton Stone, if free from clay galls, although
+very soft when quarried, becomes hardened by exposure, and
+will stand the weather much better than a harder and more pretentious
+material.</p>
+
+<p>The stone of Compton House is in a very good condition, although
+the mason told me such was the hurry in rebuilding that they could
+not stop to select the stone, and also that it is placed in all sorts of
+positions with respect to its quarry bed. Perhaps the circumstances
+that the stone is not in parallel lamin&aelig; may have something to do
+with its durability, notwithstanding this latter fact.</p>
+
+<p>It would take a long Paper, and several evenings, to exhaust the
+subject even of our local stones. I may mention, however, that the quarries
+of Grinshill, between Shrewsbury and Hawkstone, yield a beautiful
+white sandstone, of a finer grain than Storeton, but of a similar
+quality.</p>
+
+<p>Most of the public buildings of Shrewsbury are built of it, and I
+am informed that it was to some extent used in the Exchange buildings.
+The rocky substratum of a district can be well seen in its
+ancient buildings, for in old times carriage was so important an item
+that the old builders could not go far for their stone; hence we
+see that the old churches of part of Lancashire and most of Cheshire,
+and a large portion of Shropshire, are of red sandstone. Some of
+it has stood very well, while some has decayed into shapeless masses.
+There is a tendency to exfoliate parallel to the exposed or worked
+surface, in all stones, irrespective of the way of the bed, but more so
+where the stone is set up on edge, or at right angles, to its quarry
+bed. It is interesting and peculiar to see in some of the old buildings
+erected with pebbly sandstone how the white quartz pebbles stand
+out from the surface like <i>warts</i>. This is due to the greater indestructibility
+of the quartz pebbles, and the weathering away, or denudation,
+of the sandstone face.</p>
+
+<p>Before leaving the subject of local sandstones it will be necessary
+to refer to one quality they have which is of excellent utility as regards
+the storage of water, but which is decidedly a disadvantage in
+building stone&mdash;that is, their porosity. I have proved by actual experiment
+that a cubic foot of Runcorn Stone will take up three quarts
+of water by capillarity, and that it is possible to make a syphon of
+solid sandstone which will empty a vessel of water into another vessel
+by capillarity alone.<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> This shows the absolute necessity of damp-proof
+courses, not only in the main walls of buildings of stone, but
+even in fence walls, for the continual sucking up of moisture from the
+earth, and its evaporation at the surface of the stone, make it rapidly
+decay. I think I could show you this fact in almost any stone building
+in Liverpool or elsewhere where the stone is in direct connection
+with the earth. It also shows the necessity of taking care that no
+stones go through the wall to the interior surface, and of precautions
+for backing up stone walls with less porous materials, or the introduction
+of a cavity. If you could suppose such a sandstone wall 40
+feet long, 20 feet high, and 1 foot 6 inches thick fully saturated, it
+would hold almost a ton of water! Of course, it never would be fully
+saturated, because of the evaporation from the surfaces, but with a
+southwest aspect, and very wet weather, it might become half saturated.
+But what does evaporation mean? It means the loss of so
+much heat and the burning of so much coal to supply its place. From
+this it will be seen that a pure sandstone wall is a thing to be avoided.</p>
+
+<p>The subject is so wide a one that I have felt compelled to restrict
+my remarks to local sandstones, but the general principles of structure
+apply to all sandstones alike.</p>
+
+<p>It is difficult by written description to tell you how to select a good
+stone, but one essential is that there shall be a good deposition of
+secondary quartz, as shown by the crystalline sparkling on the freshly
+fractured surface.</p>
+
+<p>It must also be free from very decided laminations, for these constitute
+planes of weakness and are often indications of the deposition
+of varying materials, or the same material in various grades of fineness.
+It must also not be full of argillaceous and iron-oxide infillings.
+It should possess a homogeneous texture. The best way to study
+building stones is to study them in old buildings, for nature has then
+dissected their weaknesses.</p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Read before the Liverpool Architectural Society, on the 18th November,
+1889, by Mr. T. Mellard Reade, F.S.G.S. <i>Fellow</i>, President of the Society, and
+printed in the <i>R.I.B.A. Journal</i>.</p></div>
+
+<div class="footnote"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> This experiment was made before the audience.&mdash;T. M. R.</p></div>
+</div>
+
+
+<hr style='width: 45%;' />
+
+<p><span class="smcap">Warfare on Oak Trees.</span>&mdash;&ldquo;The world seems to have waged a
+special warfare upon oak trees,&rdquo; says a St. Louis man. &ldquo;Before iron
+ships were built, and that was only twelve years ago, oak was the only
+thing used. When this drain ceased oak came into demand for furniture,
+and it is almost as expensive now as black walnut. No one feels
+the growing scarcity of oak like the tanner, and the substitution of all
+sorts of chemical agencies leads up to the inquiry as to whether other
+vegetable products cannot be found to fill the place of oak bark. The
+wattle, a tree of Australian growth, has been found to contain from
+twenty-six to thirty per cent of tannic acid. Experiments have been
+made on the Pacific Slope, where the wattle readily grows, and in a
+bath of liquor, acid was made from it in forty-seven days, whereas in
+liquor made from Santa Cruz oak, the best to be found in all the
+Pacific States, the time required is from seventy-five to eighty days.
+The wattle will readily grow on the treeless plains of Texas, New
+Mexico and Arizona, the bark of which ought to yield five dollars per
+acre counting the fuel as nothing.&rdquo;&mdash;<i>Invention.</i></p>
+
+
+
+<hr style="width: 65%;" />
+<h2><a name="THE_BARYE_EXHIBITION" id="THE_BARYE_EXHIBITION"></a>THE BARYE EXHIBITION.</h2>
+
+
+<div class="figleft" style="width: 248px;">
+<img src="images/aabn_11.png" width="248" height="600"
+alt="Church architecture, showing pulpit with statuary and windows behind"
+title="" />
+</div>
+
+
+<p><span class="dropcape"><span class="dropcap">E</span></span>ntering the handsome galleries of the American Art Association, one
+finds the lower floor given up to the Barye bronzes, while the upper
+rooms are devoted to the &ldquo;Angelus&rdquo; and the paintings by Millet and
+other contemporaries of the great French sculptor. Passing on the
+left of the entrance the superb, large bronze of &ldquo;Theseus battling
+with the Centaur,&rdquo; one is fronted by the great cast of the &ldquo;Lion and
+Serpent,&rdquo; which from the centre of the gallery dominates the
+surrounding exhibits. Both of these are the property of the
+Metropolitan Museum of Art, the cast having lately been presented to
+that institution by the French government. Upon the right hangs
+Bonnat&#8217;s vigorous portrait of Barye, on the left wall one sees the
+water-color of the &ldquo;Tiger Hunt,&rdquo; and all around are cases, groups
+and isolated pieces of the bronzes.</p>
+
+<p>Here are over 450 works in wax, plaster and bronze, of which Mr. W.
+T. Walters contributes one-fourth, while the Corcoran Gallery sends
+its entire collection, numbering nearly a hundred, Mr. Cyrus J.
+Lawrence loans sixty-two pieces, Mr. James F. Sutton fifty-two and
+Mr. Samuel P. Avery thirty. Other contributors, who have followed
+their generous example, are Messrs. R. Austin Robertson, Theodore K.
+Gibbs, Robert and Richard M. Hoe, James S. Inglis, Richard M. Hunt
+and Albert Spencer. Of many of the subjects there are several
+copies, and amateurs can study proofs and patinas to their heart&#8217;s
+content. From Mr. Walters&#8217;s famed collection are the four unique
+groups modelled for the table of the Duke of Orleans, chief of which
+is the &ldquo;Tiger Hunt,&rdquo; where two of the huge cats attack an elephant
+from whose back three Indians defend themselves with courage. The
+giant pachyderm writhes his serpent-like trunk in air and plunges
+forward open-mouthed, trumpeting with pain from the keen claws of
+the tigers hanging on his flanks. The Hunts of the Bull, the Bear
+and the Elk are worthy companions of this magnificent bronze,
+offering wonderfully fine examples of condensed composition in the
+entwined bodies of men and beasts, and filling the eye with the
+grand sweeps of their circling forms. The same liberal patron of art
+also lends his unique piece of a walking lion, in silver, made in
+1865 for a racing prize, and a plaster-proof of the little medallion
+of &ldquo;Milo of Crotona attacked by a Lion,&rdquo; executed by Barye in 1819
+for the Prix de Rome competition at the &Eacute;cole des Beaux-Arts.
+This little gem, worthy of the antique, did not secure the prize,
+however, which went to a now-forgotten sculptor named Vatinelle. It
+had often been so before, it has often been so since down to our day
+(Comerre was preferred to Bastien Lepage in 1875) and doubtless it
+will be so for who knows how many years to come.</p>
+
+<p>All the phases of that terrific struggle for existence where beast
+hunts beast, which have been depicted by Barye&#8217;s genius, are here.
+Here is the &ldquo;Tiger devouring a Crocodile&rdquo; (with which Barye made
+his first appearance at the <i>Salon</i>, in 1831); the &ldquo;Jaguar devouring
+a Hare&rdquo;; the &ldquo;Lion devouring a Doe,&rdquo; the &ldquo;Crocodile devouring an
+Antelope,&rdquo; the &ldquo;Python swallowing a Doe,&rdquo; the &ldquo;Tiger devouring a
+Gazelle,&rdquo; the &ldquo;Bear on a tree devouring an Owl&rdquo; and the &ldquo;Lion
+devouring a Boar.&rdquo; What a series of banquets on blood and warm,
+almost living flesh is here presented! How cruel these creatures are
+to each other, is the thought that first comes to us, but a second,
+reminds that it is but their instinct and a necessity of natural law,
+and repulsion is lost in astonishment and delight at the marvellous
+fidelity with which the sculptor has rendered these links in the great
+chain of animal life. Their (as we call it) savage eagerness, their
+almost blind rage for their appointed food, the tenacity with which
+they clutch and the ravening <i>anxiety</i> (caused by the dread of losing
+their prey) with which they tear the flesh of their victims, is<span class='pagenum'><a name="Page_11" id="Page_11">[Pg&nbsp;11]</a></span>
+portrayed to the life. We speak of a death-grip, but here is a death and
+life grip&mdash;death to the victim whose palpitating body furnishes life
+to its destroyer. It is the hot-cold-bloodedness of nature, the disregard
+for suffering of the tornado, the earthquake and the avalanche
+shown in little in the fangs and claws of these wild creatures. Then
+there are the battles of the more evenly-matched animals&mdash;not
+always as a result of the need of sustenance&mdash;such are the tiger
+transfixed by the elephant; the python&#8217;s folds crushing the crocodile;
+and the bear dragging the bull to earth, or itself, in turn, overthrown
+by mastiffs. Then comes those groups into which man enters&mdash;the
+African horseman surprised by a great serpent whose formidable
+folds already enclose his struggling body; the Arabs killing a lion;
+and the &ldquo;Theseus overcoming the Minotaur,&rdquo; wherein the calmly
+irresistible hero is about to bury his keen, short sword in the bull-neck
+of the gross monster. The success with which Barye has combined
+the human and bestial characteristics of the minotaur is most
+remarkable and a similar triumph is won in the hippogriff&mdash;the winged
+horse, with forefeet of claws and beaked nose, which leaps so swiftly
+over the coiled-shape of the dolphin-serpent, which serves for his
+pedestal&mdash;bearing upon his back the charming, nude figure of
+Angelica held in the mail-clad arms of Ariosto&#8217;s hero. To this category
+<i>seems</i> to belong the &ldquo;Ape riding a Gnu,&rdquo; the forms, however,
+being true to nature though appearing fantastic when placed in
+juxtaposition.</p>
+
+<p>The horse as we know him, and carrying more familiar burdens,
+is shown in numerous equestrian statuettes, the best of which is the
+slender, nervous figure of Bonaparte as First Consul, mounted on a
+proudly-stepping Arab. There is another one of Napoleon, showing
+him at a later period of his life, and the other equestrian portraits
+include one of the Duke of Orleans, who looks every inch a gentleman;
+one of Gaston de Foix, the hero of Ravenna; and one of
+Charles VII. Then there is a spirited statuette of a Tartar warrior
+in chain armor sharply pulling back his steed, and a graceful figure
+of a lady wearing the riding-dress of 1830. A painful contrast
+is presented by the doomed horse unwillingly carrying a lion whose
+dreadful grip his frantic rearing cannot loosen. In addition there
+are many studies of horses, various in breed and attitude, and the
+small wax model of a young man mastering a horse which though
+but a rough &ldquo;first sketch&rdquo; has all the &ldquo;go and fire&rdquo; possible. It
+would have been of interest if some illustration of Barye&#8217;s equestrian
+monument of Napoleon at Ajaccio could have been shown, and this
+reminds me that except a photograph of the Ch&acirc;teau d&#8217;Eau at Marseilles,
+showing the four groups of animals designed by him (which
+Mr. Cyrus J. Lawrence was thoughtful enough to send), and the two
+reclining river-gods from the Louvre (sent by Mr. Walters), there is
+nothing which gives any idea of Barye&#8217;s public work. Not even
+photographs of the War, Order, Glory and Peace groups of the
+Louvre, which could have easily been taken from the copies given by
+Mr. Walters to Baltimore, now on Mount Vernon Place, are present.
+But, in face of the admirable collection here gathered together, this
+may savor of ingratitude, and I will return to the consideration of the
+remaining sculptures.</p>
+
+<p>Among them are some masterly pieces of decoration, the most important
+being the superb candelabra made for the Duc de Montpensier.
+These have seated at their base nude figures of the three chief
+goddesses of classic mythology, whose noble proportions and purity
+of outline prove the versatility and completeness of the sculptor&#8217;s
+art. Juno is accompanied by her peacock and bears the rod of
+power; Minerva lifts a sword, and Venus holds the golden apple.
+The candelabra are further enriched with masks and chimeras, and
+bear at their top a charming circular group of the three graces, small
+undraped figures, with arms entwined and faces turned toward each
+other. The general design and exquisite detail of this work is worthy
+of the Renaissance. There are some more candlesticks and other
+works of decorative art, all of which bear the marks of a master-hand.</p>
+
+<p>The humorous side of things is presented by some of the groups:
+in the ungainly figure of the elephant of Senegal running; in the
+bear lying on his back in a trough and eating with great gusto some
+sweet morsel which he holds between his paws; and in the meditative
+stork standing on the back of a turtle. Some of the animals are
+shown as sleeping or reclining, and there is a cat sitting, a goat
+feeding, a deer scratching its side and a pheasant walking, among
+others, but the tragic note is struck in most of them. Probably the
+best works are to be found among those pieces representing members
+of the feline race, which were always the subject of Barye&#8217;s most
+thorough study. The sculptures of horses are also very numerous,
+and it strikes one at first as curious that, after all the rebuffs he received
+from the academic faction, who recognized no animals but
+the horse and lion as worthy of representation in sculpture, he
+should have modelled so many of these very creatures. But, after
+all, Barye&#8217;s lions and horses belong to an entirely different race from
+those which the tradition-bound old fogies were pleased with. The
+collection embraces many admirable bronzes of birds: an eagle
+holding a dead heron; an owl with a rat; a paroquet on a tree,
+and a strikingly fine composition of a hawk killing a heron; and
+there are some beautiful studies of dogs, especially a large seated
+greyhound, belonging to Mr. Walters. There are rabbits, badgers,
+wolves and camels, but I remember no cows or pigs, and only one
+group of sheep. Wild life, much more than domestic, touched the
+sympathies of Barye.</p>
+
+<p>Mr. Walters loans twenty-three of Barye&#8217;s powerful water-colors
+of animals and a fine oil, of unusual size for this artist, of a tiger.
+One of the most striking of the water-colors shows a great snake
+swallowing an antelope, whose head is partly engulfed, and it is
+almost exactly the same as one of the bronzes from the Walters collection.
+Other gentlemen have contributed water-colors and oil-paintings
+by Barye, among them being several landscapes at Fontainebleau,
+and there are various etchings and prints after his works
+and some of his lithographs, pencil-sketches and autographs, with a
+copy of the only etching&mdash;a stag fighting a cougar&mdash;which, according
+to so good an authority as Mr. Avery, he ever made. These remarkable
+water-colors alone would suffice to show the genius of
+Barye, for they are full of the same qualities of truth and originality
+of expression which we see in his bronzes. Their color is exceedingly
+fine, and their topics are generally tigers, lions, elephants and
+serpents. It is a source of wonder how Barye, who never visited
+the East, could have so well depicted the tropical landscapes in
+which he has placed these tawny tigers and majestic lions. The
+drawings, like the sculptures, impress us with their air of absolute
+veracity, and, even in their most dramatic moments, suggest a reticence
+behind. Barye does not exhaust himself or his subject, yet he
+seems to have said the last word in this direction of art, and I cannot
+imagine that his profound and searching genius will ever be surpassed.</p>
+
+<p>The managers of the galleries announce the exhibition of a
+hundred &ldquo;masterpieces&rdquo; by the contemporaries and friends of
+Barye, but I do not think that the visitor will find so large a number
+which can rightly be thus classed. To me it appears that something
+less than one-half are works of the first order, but among the
+remainder are many good things worthy of attention. Here again
+the treasures of Mr. Walters&#8217;s collection are drawn upon and he
+sends some twenty-five pictures, prominent among which is the great
+&ldquo;Martyrdom of St. Sebastian,&rdquo; by Corot; the &ldquo;Evening Star,&rdquo; by
+the same master; Troyon&#8217;s &ldquo;Cattle Drinking&rdquo;; Diaz&#8217;s &ldquo;Storm&rdquo; and
+&ldquo;Autumn Scene in the Forest of Fontainebleau&rdquo;; Rousseau&#8217;s &ldquo;Le
+Givre&rdquo;; Decamps&#8217;s &ldquo;Suicide&rdquo;; Daubigny&#8217;s large &ldquo;Sunset on the
+Coast of France&rdquo;; Delacroix&#8217;s &ldquo;Christ on the Cross&rdquo;; and Millet&#8217;s
+&ldquo;Breaking Flax.&rdquo; One of the finest Millets I have ever seen is
+here, lent by Mr. Walters. This is the &ldquo;Sheepfold at Night,&rdquo; which
+with several others of Mr. Walters&#8217;s paintings here shown, was in
+the exhibition of &ldquo;One Hundred Masterpieces&rdquo; held at Paris in
+1883. In its foreground a line of sheep pass by toward the gate of
+the fold through which some have already entered under the guidance
+of the shepherd and his dog, who stand near. The horizon is
+low, and just above it swings a swollen moon, shaped like a cup,
+from which floods of pale light fill the scene with color. If this were
+Mr. Walters&#8217;s only contribution it would be sufficient to place us
+under a heavy obligation to him. The &ldquo;St. Sebastian&rdquo; is a large
+canvas, measuring four feet wide by eight feet high, which was first
+shown at the <i>Salon</i> of 1853, and afterwards twice received important
+changes at the artist&#8217;s hands. It shows an opening in a great wood,
+with the saint reclining on the ground tended by two holy women,
+while above appear some angels who bear the martyr&#8217;s palm and
+crown. Rousseau&#8217;s &ldquo;Le Givre&rdquo; is well described by Sensier, who
+says in his &ldquo;<i>Souvenirs sur Th. Rousseau</i>,&rdquo; it represents &ldquo;the hills of
+Valmondois as seen a mile away across the Oise, along the des Forgets
+road. The composition could not be more simple. Little
+hillocks heaped in the foreground are covered with half-melted snow,
+and the sun, red in the midst of a leaden sky, is seen dying and
+threatening through the clouds.&rdquo; The &ldquo;Suicide,&rdquo; of Decamps, shows
+the body of a young artist stretched lifeless on his pallet in a gloomy
+room, and is painted with extraordinary force. The &ldquo;Sunset,&rdquo; by
+Daubigny, describes a scene on the French coast with some cows
+near a pool separated from the sea only by a few yards. The foreground
+is rich in sombre greens and browns, the ocean a glorious
+blue and the sky tinged with the roses of sunset.</p>
+
+<p>A superb specimen of the lately dead veteran, Jules Dupr&eacute;, &ldquo;The
+Old Oak,&rdquo; is lent by Mr. John G. Johnson, who contributes several
+other pictures, among them a fine &ldquo;Going to the Fair,&rdquo; by Troyon,
+in which is seen a drove of cattle and sheep, with a woman on horseback
+behind talking to a man. Another still finer Troyon, the
+&ldquo;Drove of Cattle and Sheep,&rdquo; which brought $26,000 at the Spencer
+sale, is lent by Mr. Cornelius Vanderbilt. It will be recalled as
+showing a flock of sheep coming along a road toward the spectator,
+while behind are two cows, one with head uplifted to avoid the
+threatening stick of the drover&mdash;a dumb but eloquent protest
+against man&#8217;s cruelty. Corot&#8217;s lovely &ldquo;Lake Nemi,&rdquo; the property
+of Mr. Thomas Newcombe, is here, while Mr. Jay Gould sends his
+&ldquo;Evening&rdquo;; Mr. William F. Slater, of Norwich, Conn., the &ldquo;Fauns
+and Nymphs,&rdquo; and Mr. Charles A. Dana his beautiful &ldquo;Dance of
+Loves.&rdquo; To the same gentleman the public is indebted for an
+opportunity to admire Millet&#8217;s admirable &ldquo;Turkey-keeper.&rdquo; Mr.
+D. C. Lyall has Delacroix&#8217;s splendid page of romance, &ldquo;The Abduction
+of Rebecca,&rdquo; and among the numerous paintings which come
+from Mr. George I. Seney&#8217;s gallery, is the same artist&#8217;s well-known
+&ldquo;Convulsionaries,&rdquo; a crowd of self-tortured fanatics wildly rushing
+through the white-walled streets of Tangiers. There are several
+other works by Delacroix, including examples of his vivid renditions
+of lions and tigers, and Mr. Slater has here his &ldquo;Christopher
+Columbus,&rdquo; Mr. Potter Palmer, of Chicago, lending the &ldquo;Giaour
+and Pacha.&rdquo; Gericault is represented by but one picture, a noble
+couchant lion, but in addition to the &ldquo;Suicide,&rdquo; there are several
+other Decamps, notably the magnificently colored &ldquo;Turkish<span class='pagenum'><a name="Page_12" id="Page_12">[Pg&nbsp;12]</a></span>
+Butcher&#8217;s Shop,&rdquo; which, with a splendid Rousseau, the &ldquo;Forest of
+Fontainebleau,&rdquo; comes from the collection of Mr. Henry Graves.
+The gorgeous blues and crimsons of Diaz&#8217;s &ldquo;Coronation of Love,&rdquo;
+which Mr. Brayton Ives is fortunate enough to own, glow in a corner
+of one of the galleries&mdash;a bouquet of living color. It was pleasant
+to meet again a familiar picture in Millet&#8217;s &ldquo;Waiting,&rdquo; which the
+writer recalls often seeing at the Boston Art Museum when it
+belonged to Mr. Henry Sayles. It is now the property of Mr.
+Seney, and will be at once remembered by any who have ever seen
+its homely but touching figures of the old mother looking down the
+road for the coming of her absent son, and the blind father stumbling
+hastily over the steps to the door. I renewed my acquaintance with
+the inimitable cat which arches its back, elevates its tail and miaows
+on the bench outside, its ginger-colored coat relieved against the
+cool blue-grays of the stone wall. It is the apocryphal story of
+Tobit and Anna, with the waiting parents made into peasants of
+Millet&#8217;s own country, and when it was exhibited at the <i>Salon</i> of
+1861, the public, of course, passed it by to gaze at the &ldquo;Phryne&rdquo; of
+G&eacute;r&ocirc;me. Millet has doubtless painted better pictures, but for direct
+simple pathos it would be hard to surpass this.</p>
+
+<p>Boston, through Mr. Quincy Shaw and other gentlemen, sends to
+the exhibition some of the best paintings shown. Mr. Shaw exhibits
+his &ldquo;Potato-planters,&rdquo; to me the most beautiful in its rosy tones of
+any example of the artist here; of the same size, a fine &ldquo;End of the
+Village of Greville,&rdquo; walled with graystone, its little street monopolized
+by geese and ducks, and the sea-gulls flying above; and the
+&ldquo;Buckwheat Threshers,&rdquo; with two smaller canvases. Mr. F. L.
+Ames, lends two Millets, a beautiful Rousseau, &ldquo;The Valley of
+Tiffauge,&rdquo; Decamps&#8217;s splendid picture of an African about to sling
+a stone at a vulture sitting on some ruins, and the superbly painted
+dogs of Troyon&#8217;s &ldquo;Gardechasse.&rdquo; Dr. H. C. Angell&#8217;s fine Jules
+Dupr&eacute;, &ldquo;Symphony,&rdquo; is also here.</p>
+
+<p>The Millets number about a third of the paintings and among
+them is an interesting variation of the &ldquo;Sower,&rdquo; narrower in shape
+than the others and with a steeper hillside. It would have been a
+delight to have seen Mr. Shaw&#8217;s &ldquo;Sower&rdquo; temporarily lifted from its
+place in the modest house which conceals so many treasures, and
+brought here, especially as it was not possible to borrow the replica
+belonging to the estate of the late W. H. Vanderbilt, but such good
+fortune was not in store for us. A beautiful little nude by Millet,
+&ldquo;After the Bath,&rdquo; has been sent by Mr. A. C. Clark. I think it
+must be the same one which was at the Bartholdi Pedestal Fund Exhibition
+some years ago, when it belonged to Mr. Erwin Davis.
+Messrs. Boussod, Valadon &amp; Co., have lent an important and
+beautiful &ldquo;November&rdquo; by Millet, showing a sloping field with a
+harrow lying on the foreground and a man shooting at a flock of
+birds from behind a tree at the top of the hill.</p>
+
+<p>The &ldquo;Angelus,&rdquo; draped with crimson, is given the entire end of
+the long upper gallery and, I think, proves a disappointment to most,
+if not all. One chief reason for this is its small size,&mdash;it is but about
+21 x 25 inches&mdash;and then it is certainly not to be compared for
+painting with half a dozen other Millets which are here. Its sentiment
+is lasting, however, but it is not new to us, on the contrary it
+is a household word now, and the painting gives but little more than
+does Waltner&#8217;s etching. Mr. Walters loans the crayon sketch for it
+and one of &ldquo;The Sower&rdquo; and the &ldquo;Sheepfold by Moonlight,&rdquo; with
+others, and there are some very interesting pastels and water-colors
+by Millet, Rousseau and Delacroix.</p>
+
+<p>Altogether the exhibition is an extraordinarily good one, unapproached
+as to the Baryes and not easily surpassable as to the paintings
+of the Fontainebleau school, and any lover of art would find
+himself amply repaid by it for a journey to New York.</p>
+
+
+
+
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 600px;">
+<a name="THE_ILLUSTRATIONS" id="THE_ILLUSTRATIONS"></a>
+<h2><img src="images/aabn_12.png" width="600" height="84"
+alt="Decorative title"
+title="The Illustrations" /></h2>
+</div>
+
+<p>[<i>Contributors are requested to send with their drawings full and
+adequate descriptions of the buildings, including a statement of cost.</i>]</p>
+
+
+<p class="padtop">&ldquo;THE LION AND THE SERPENT.&rdquo; M. A. L. BARYE, SCULPTOR.</p>
+
+<p class="center">[Photogravure issued only with the International Edition.]</p>
+
+<p>See <a href="#THE_BARYE_EXHIBITION">article</a> elsewhere in this issue.</p>
+
+
+<p class="padtop">AUDITORIUM OF THE PALACE OF THE TROCADERO, PARIS,
+FRANCE. MM. DAVIOUD &amp; BORDAIS, ARCHITECTS.</p>
+
+<p class="center">[Gelatine Plate issued only with the International Edition.]</p>
+
+
+<p class="padtop">AN INTERIOR IN THE CHATEAU DE JOSSELIN, MORBIHAN, FRANCE.</p>
+
+<p class="center">[Gelatine Plate issued only with the International Edition.]</p>
+
+
+<p class="padtop">TORRE DEL VINO, ALHAMBRA, GRANADA, SPAIN.</p>
+
+<p class="center">[Grano-chrome issued only with the International Edition.]</p>
+
+
+<p class="padtop">RUINS OF THE CHAPEL OF CHARLES V, YUSTE, SPAIN.</p>
+
+<p class="center">[Grano-chrome issued only with the International Edition.]</p>
+
+
+<p class="padtop">COOMBE WARREN, KINGSTON, ENGLAND.&mdash;GARDEN FRONT. THE
+LATE MR. GEORGE DEVEY, ARCHITECT.</p>
+
+<p class="center">[Issued only with the International Edition.]</p>
+
+
+<p class="padtop">COOMBE WARREN, KINGSTON, ENGLAND.&mdash;ENTRANCE FRONT.
+THE LATE MR. GEORGE DEVEY, ARCHITECT.</p>
+
+<p class="center">[Issued only with the International Edition.]</p>
+
+
+<p class="padtop">A GENTLEMAN&#8217;S COUNTRY HOUSE. MR. HORACE R. APPELBEE,
+ARCHITECT.</p>
+
+<p class="center">[Issued only with the International Edition.]</p>
+
+<p><span class="dropcapt"><span class="dropcap">T</span></span>his design is founded upon the Francis I style of architecture,
+though it by no means slavishly follows it. It was required to
+obtain a house suited in all respects to modern requirements, including
+such things as sash-windows, and in places plate-glass.
+These hardly harmonize with the ordinary character of English
+country-houses of the Elizabethan and Queen Anne types, with
+their many mullioned windows and lead-glazed casements, nor is the
+other extreme of heavy Classic with ponderous detail and a portico
+two stories high at all desirable. The style of Francis I offers a
+mean between these, giving emphasis to the principal block by a
+certain amount of symmetrical planning, together with picturesqueness,
+with rich and refined detail, which a gentleman&#8217;s country-house
+certainly requires. The exterior would be of long and thin red
+bricks, with stone cornices and other dressings, and roofed with
+green slates. The interior has oak-work and enriched plaster ceilings
+to the principal rooms, with the exception of the hall, where
+the ceiling would be of oak. The hall and the staircase would have
+some stained-glass in the windows. The original drawing was exhibited
+in this year&#8217;s Academy.</p>
+
+
+<p class="padtop">WROUGHT-IRON GATES, DUKE STREET, CHELMSFORD, ENGLAND.</p>
+
+<p class="center">[Issued only with the International Edition.]</p>
+
+
+<p class="padtop">HISTORICAL FIGURES FROM LORD MAYOR&#8217;S PROCESSION, 1889.
+DESIGNED BY MR. JOHN JELLICOE.</p>
+
+<p class="center">[Issued only with the International Edition.]</p>
+
+<p>These figure sketches embrace five typical examples from the late
+Lord Mayor&#8217;s show, in which Medi&aelig;val, Tudor and Stuart costumes
+were (thanks to the research and artistic knowledge of Hon. Lewis
+Wingfield) so pleasantly associated. We have selected five, both on
+account of their diversity and also because of their being representative
+costumes of different eras in English history. The dresses, for
+magnificence and accuracy of detail, have rarely been equalled.</p>
+
+
+<p class="padtop">HOUSE OF MRS. CHARLES BLAKE, BEACON ST., BOSTON, MASS.
+MESSRS. STURGIS &amp; CABOT, ARCHITECTS, BOSTON, MASS.</p>
+
+<p class="center">[Issued only with the Imperial and International Editions.]</p>
+
+
+<p class="padtop">COMPETITIVE DESIGN FOR THE CATHEDRAL OF ST. JOHN THE
+DIVINE, NEW YORK, N.Y. MR. GLENN BROWN, ARCHITECT,
+WASHINGTON, D.C.</p>
+
+<p>Although the selection of material is a matter that can be well
+dispensed with until the general design has been determined, the
+architect suggests as in harmony with the treatment, Westerly, R.I.
+granite for the body of the cathedral, with trimmings of carved
+capitals, bases, columns, belts, arches and other ornamental stonework
+of a Georgia marble. The granite is cream color, with a
+suspicion of red, and the marble is of the same shade but a trifle
+darker and more positive. Both from chemical and physical tests
+they are apparently of equal strength and durability. The colors
+suggested would not give the building the cold appearance of white
+marble, or the somewhat sombre appearance produced by gray
+granite.</p>
+
+<p>The stones are to be laid in square blocks, regular courses and
+rock-face in the body of the building, with square and sharp corners.
+The columns, lintels, sills, belts, finials and mouldings are to be close
+hammered work, with carving where indicated on the drawings.</p>
+
+<p>The different tower roofs are to be fine-hammered or rubbed
+granite. The distinction between the tower roofs and the body of
+the building is not brought out clearly in the different drawings, as
+this would require shading all the granite stonework except the
+tower roofs, and shading is prohibited by the instructions.</p>
+
+<p>The interior of the church is designed to be finished in marbles of
+harmonious colors, with carved and other decorated work, as shown
+in the section. The surface of the floor is to be laid in mosaic tile,
+the presumption being that fixed pews will not be used in the
+cathedral. Ample storage can be obtained for portable seats in the
+cellar.</p>
+
+<p>The floors are laid on terra-cotta arches, built on iron beams, and
+the beams are protected by terra-cotta casings.</p>
+
+<p>The roof of the building is to be covered with slate [preferably
+red], laid on terra-cotta and supported by iron trusses and beams;
+the iron-work to be protected by a fireproof covering. The tower
+roofs contemplate granite, lapped and jointed so as to be weatherproof,
+laid on iron beams and supported by iron trusses. If a
+cheaper covering is desired, slate or tile can be used without affecting
+the design.</p>
+
+<p><span class='pagenum'><a name="Page_13" id="Page_13">[Pg&nbsp;13]</a></span>
+The ceiling is a barrel-vault with large and small arched ribs
+pierced in each bay by the small vaults in which the clerestory
+windows open. It may be treated in one of three ways: first,
+finished in marble; second, marble ribs, the larger surfaces being
+terra-cotta blocks covered with mosaic tile; third, the larger surfaces
+frescoed on plaster. The ceiling of the lantern in the centre
+of the cathedral will be supported by arch trusses, and show metallic
+ribs on the interior, glazed with cathedral glass.</p>
+
+<p>The screens between the choir and aisles and between the aisle
+and vestries and chapels are intended to be of wrought-iron, bronze
+or brass, or a combination. They should be arranged so as to slide
+down into the cellar and leave the entire building open and unobstructed
+whenever it might be thought desirable.</p>
+
+<p>The outside doors are to be bronze, with figures on them in low
+relief.</p>
+
+<p>The size of columns and piers, and the weights imposed upon
+them, the thrusts of arches and trusses, their proper abutments and
+ties and other constructional problems have been calculated with a
+sufficient degree of accuracy to determine the feasibility of the execution
+of the design according to the drawings.</p>
+
+<p>In the lantern where the frescoing is contemplated the wall will be
+faced with porous brick, on which the proper fresco plaster can be
+spread.</p>
+
+<p>The plan is arranged to facilitate the ingress and egress of large
+assemblages of people, five doorways being provided in the nave
+entrance and two in each of the transepts. The galleries over the
+nave and transept vestibules and the triforium have stairways with
+entrances on the side porches. Including the clergy entrances, fifteen
+outside doors are planned. The vestibules and porches connect
+with each other so that worshippers can pass from one to the other
+under cover.</p>
+
+<p>The arrangement adopted for the central tower allows a central
+auditorium about one hundred feet in diameter, unobstructed by
+columns or piers, with the nave transepts and choir opening into it.
+The aisles are not decreased by this central enlargement, as they
+deflect through the four abutting towers.</p>
+
+<p>The different vestry-rooms, library or sacristy and the treasury
+are grouped conveniently to the choir, with separate entrances for
+the church officials. The meeting-room for the clergy or chapter
+and the chapel have entrances independent of the church, or by
+lowering the screen they can be thrown open into the cathedral.
+Toilet-rooms, custodian&#8217;s and a committee-room are located on the
+transept vestibules, as these entrances would most probably be constantly
+open.</p>
+
+<p>Elevators are placed in two of the supplemental towers, and stairways
+in the ones adjoining the choir, landing visitors on the triforium
+gallery, which encircles the building, and in the two galleries
+which encircle the central lantern. From the lantern galleries
+visitors can obtain fine interior views of the building, and comprehend
+the crucial form of the plan at a glance.</p>
+
+<p class="padtop">TABULATIONS OF APPROXIMATE DIMENSIONS.</p>
+
+<table border="0" cellpadding="2" cellspacing="0" width="80%" summary="Table of Room Areas">
+  <tr>
+    <th class="tdl">&nbsp;</th>
+    <th class="tdr">Length.</th>
+    <th class="tdr">Breadth.</th>
+    <th class="tdr">Height.</th>
+    <th class="tdr">Square feet.</th>
+  </tr>
+  <tr>
+    <td class="tdl">Ground-floor including walls height to the ridge of roof</td>
+    <td class="tdr">400</td>
+    <td class="tdr">156 to 230</td>
+    <td class="tdr">148</td>
+    <td class="tdr">69,000</td>
+  </tr>
+  <tr>
+    <td class="tdl">Lantern or central tower exterior</td>
+    <td class="tdr">106</td>
+    <td class="tdr">106</td>
+    <td class="tdr">400</td>
+    <td class="tdr">11,236</td>
+  </tr>
+  <tr>
+    <td class="tdl">Nave interior</td>
+    <td class="tdr">125</td>
+    <td class="tdr">50</td>
+    <td class="tdr">100</td>
+    <td class="tdr">6,250</td>
+  </tr>
+  <tr>
+    <td class="tdl">Transepts interior</td>
+    <td class="tdr">30</td>
+    <td class="tdr">50</td>
+    <td class="tdr">100</td>
+    <td class="tdr">3,000<br /> for the two</td>
+  </tr>
+  <tr>
+    <td class="tdl">Choir interior</td>
+    <td class="tdr">95</td>
+    <td class="tdr">50</td>
+    <td class="tdr">100</td>
+    <td class="tdr">4,750</td>
+  </tr>
+  <tr>
+    <td class="tdl">Central tower interior</td>
+    <td class="tdr">88</td>
+    <td class="tdr">88</td>
+    <td class="tdr">200</td>
+    <td class="tdr">&nbsp;</td>
+  </tr>
+  <tr>
+    <td class="tdl">Aisles interior</td>
+    <td class="tdr">&nbsp;</td>
+    <td class="tdr">16</td>
+    <td class="tdr">40</td>
+    <td class="tdr">&nbsp;</td>
+  </tr>
+  <tr>
+    <td class="tdl">Chapel and Chapter</td>
+    <td class="tdr">52</td>
+    <td class="tdr">26</td>
+    <td class="tdr">&nbsp;</td>
+    <td class="tdr">&nbsp;</td>
+  </tr>
+  <tr>
+    <td class="tdl" colspan="4">Square feet of auditorium exclusive of aisles,
+columns and space between columns, triforium and galleries</td>
+    <td class="tdr">20,486</td>
+  </tr>
+  <tr>
+    <td class="tdl" colspan="4">Auditorium including everything except choir</td>
+    <td class="tdr">48,106</td>
+  </tr>
+</table>
+
+
+<p class="padtop">ABBEY OF ABERBROTHWICK: GALLERY OVER ENTRANCE.</p>
+
+<p class="center">ABBEY OF ABERBROTHWICK: THE WESTERN DOORWAY.</p>
+
+<p>The traveller by sea, along the east coast of Scotland, is liable to
+be reminded with startling emphasis of the demolition to which
+the ecclesiastical architecture of the country has been subjected.
+Leaving behind him on his northward course the fragments of the
+metropolitan Cathedral of St. Andrews, he crosses a wide arm of
+the sea, and when he again approaches the shore, the objects most
+prominent against the sky are the still more disastrously shattered
+remnants of the great Abbey of Aberbrothwick. One lofty fragment
+presents in its centre a circle, doubtless once filled with richly
+moulded mullions and stained-glass, but through which the blue sky
+is now visible. This vacant circle is the only symmetrical form in
+these lofty masses that at a distance strikes the eye&mdash;all else is
+shapeless and fragmentary. Around these huge unsightly vestiges
+of ancient magnificence the types of modern comfort and commercial
+wealth cluster thickly, in the shape of a small but busy manufacturing
+town, with its mills, tall chimneys and rows of substantial houses.</p>
+
+<p>The ruins, which are interesting only in their details, scarcely present
+a more inviting general aspect as they are approached. Nearing
+them from the High Street of the burgh, the first prominent
+object is a grim, strong, square tower, the sole remaining complete
+edifice of the great establishment, now used as a butcher&#8217;s shop. It
+was not perhaps without design that this formidable building was so
+placed as to frown over the dwellings of the industrious burghers&mdash;it
+was the prison of the regality of the abbey&mdash;the place of punishment
+or detention through which a judicial power, scarcely inferior
+to that of the royal courts, was enforced by this potent brotherhood;
+and thus it served to remind the world without, that the coercive
+power of the abbot and his chapter was scarcely inferior to their
+spiritual dignity and their temporal magnificence. Passing onward,
+the whole scene is found to be a chaos of ruin. Fragments of the
+church, with those of the cloisters and other monastic edifices, rise in
+apparently inseparable confusion from the grassy ground; but, with
+a little observation, the cruciform outline of the church can be
+traced, and then its disjointed masses reduce themselves into connected
+details. The dark-red stone of which the building was
+constructed is friable, and peculiarly apt to crumble under the moist
+atmosphere and dreary winds of the northeast coast. The mouldings
+and tracery are thus wofully obliterated, and the facings are so
+much decayed as to leave the original surface distinguishable only
+here and there. At comparatively late periods large masses of the
+ruins have fallen down; and Pennant mentions such an event as
+having taken place just before he visited the spot. This palpable
+progress towards the complete extinction of the relics of one of the
+finest Gothic buildings in Scotland, certainly rendered it not only
+justifiable but highly praiseworthy that the Exchequer should make
+some effort for preserving so much of the pile as was preservable.
+Restoration was not to be expected&mdash;the preservation of the existing
+fragments was all that could be reasonably looked for. It must
+be confessed, however, that the operations, by means of which this
+service was accomplished, have given no picturesque aid to the
+mass of ruins, but have rather introduced a new element of discordance
+and confusion, in the contrast between the cold, flat, new surfaces
+of masonry and the rugged, weatherbeaten ruins in which they
+are embodied.</p>
+
+<p>There are few buildings in which the Norman and the early English
+are so closely blended, and the transition so gentle. The great
+western door has the Norman arch, with an approach to the later
+types in some of its rather peculiar mouldings, while the broad and
+equally peculiar gallery above it&mdash;the only interior portion of the
+church remaining in a state of preservation&mdash;shows the pointed
+arch, with all the simplicity of the Norman pillar and capital. All
+the material fragments of the church now remaining are represented
+in the four accompanying plates, from which as full an idea of the
+shape and character of the remains may be derived as the visitor
+could acquire on the spot. It will be seen that over the gallery, at
+the western end of the nave, there widens the lower arc of a circular
+window, which must have been of great size. The only portions of
+the aisle windows still existing are on the south side of the nave.
+None of the central pillars remain, but their bases have been carefully
+laid bare: and it is supposed, from the greater size of those at
+the meeting of the cross, that here there had been a great central
+tower.</p>
+
+<p>Among the tombs of more modern date, in the grave-yard near the
+church, there are many which bear sculptural marks of a very
+remote antiquity; and among the ornaments they present, the primitive
+form of the cross is conspicuous. During the operations for
+cleaning out the ruins, which were conducted under the authority of
+the Exchequer in 1815,<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a> some pieces of monumental sculpture were
+discovered, two of which are curious and remarkable. The one is
+the mutilated figure of a dignified churchman&mdash;probably an abbot.
+The head, the hands&mdash;which appear to have been clasped&mdash;and
+the feet, are broken off and lost; but the fragment thus truncated
+has much appearance of grace in the folds of the drapery and the
+disposition of the limbs, while a series of rich ceremonial ornaments
+appear to have been brought out with great force and minuteness.
+The other figure, still more mutilated, is simpler in the ordinary details,
+but has attached to it some adjuncts which have perplexed the
+learned. The feet appear to have rested on the effigy of a beast, the
+remains of which indicate it to have represented a lion. It has, from
+this circumstance, been inferred that the statue was that of William
+the Lion, the founder of the abbey. The figure has, however, been
+attired in flowing robes, and a purse hangs from the girdle. But the
+portions of this fragment which chiefly contributed to rouse curiosity,
+are some incrustations, which had at first the appearance of the
+effigies of lizards crawling along the main figure. It was supposed
+that these reptiles were intended to embody the idea of malevolent
+spirits, and that the piece of sculpture might have been designed to
+represent a myth, probably in reference to the machinations of the
+infernal world. But, upon a closer inspection, it was found that
+these tiny figures represented pigmy knights in armor, scrambling,
+as it were, up the massive figure. One appears to be struggling with
+the drapery below; another has reached the waist; and the fracture,
+which is across the shoulder, leaves dangling the mailed heels
+of two others, which must have reached the neck. Is it possible that
+there can be here any reference to the slaughter of Becket, to whom
+the abbey was dedicated?</p>
+
+<div class="footnotes"><h3>FOOTNOTE:</h3>
+
+<div class="footnote"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> New Stat. Account, Forfar, p. 80.</p></div>
+</div>
+
+<p class="padtop">HISTORICAL SKETCH.</p>
+
+<p>The historical circumstances connected with the foundation of this
+monastic institution are remarkable. It was founded and endowed
+by William the Lion, King of Scots, in the year 1178, and dedicated<span class='pagenum'><a name="Page_14" id="Page_14">[Pg&nbsp;14]</a></span>
+to St. Thomas &agrave; Becket, the martyr of the principle of ecclesiastical
+supremacy, whose slaughter at the high altar of Canterbury
+Cathedral occurred in 1170, and who was canonized in 1173. This
+great establishment, richly endowed, was thus a magnificent piece of
+homage by the Scottish King to a principle which, especially under
+the bold and uncompromising guidance of its great advocate, had
+solely perplexed and baffled his royal neighbor on the English
+throne, and boded future trouble and humiliation to all thrones and
+temporal dignities. Much antiquarian speculation has been exerted,
+but without very obvious success, to fathom the motives for this act
+of munificence. William had invaded those parts of the north of
+England which were previously held in a species of feudality by the
+Kings of Scotland, and was disgracefully defeated at Alnwick, and
+committed to captivity, just at the time when the English monarch,
+whose forces accomplished the victory and capture, was enduring his
+humiliating penance at the tomb of the canonized archbishop. Lord
+Hailes, who says that &ldquo;William was personally acquainted with
+Becket, when there was little probability of his ever becoming a confessor,
+martyr and saint,&rdquo; endeavoring to discover a motive for the
+munificence of the Scottish King, continues to say: &ldquo;Perhaps it was
+meant as a public declaration that he did not ascribe his disaster at
+Alnwick to the ill-will of his old friend. He may, perhaps, have
+been hurried by the torrent of popular prejudices into the belief that
+his disaster proceeded from the partiality of Becket towards the
+penitent Henry; and he might imagine that if equal honors were
+done in Scotland to the new saint as in England he might, on future
+occasions, observe a neutrality.&rdquo;<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> It is remarkable that several of
+the early chroniclers allude to this friendship between the Scottish
+monarch, who was a resolute champion of temporal authority, and
+the representative of ecclesiastical supremacy....</p>
+
+<p>Princes may be induced, by personal circumstances, to change
+their views, and in the times when they were not controlled by
+responsible ministers, they gave effect to their alterations of opinion.
+It is quite possible that at the time when he founded the Abbey,
+William was partial to Church ascendency, for his celebrated contest
+with the ecclesiastical power arose out of subsequent events. This
+King&#8217;s disputes with the Church have a somewhat complex shape.
+The clergy of his own dominions had a spiritual war against the English
+hierarchy, who asserted a claim to exercise metropolitan authority
+over them; and it might have been supposed that William, if he
+sought to humble his own clergy, would have found it politic to favor
+the pretensions of those of England. But the interests of the two
+clerical bodies became in the end united. Thus the war which had
+so long raged in England, passed towards the north, with this difference,
+that the King of Scots had to encounter not only his own
+native hierarchy, but the victorious Church of England, just elated
+by its triumph over Henry. The Chapter of St. Andrews had
+elected a person to be their bishop, not acceptable to William, who
+desired to give the chair to his own chaplain. The King seized the
+temporalities, and prevailed on the other bishops to countenance his
+favorite. The bishop-elect appealed to Rome. Pope Alexander III
+issued legatine powers over Scotland to the Archbishop of York,
+who, along with the Bishop of Durham, after an ineffectual war of
+minor threats and inflictions, excommunicated the King, and laid the
+kingdom under interdict. At this point Alexander III died, and
+the new pope thought it wise to make concessions to an uncompromising
+adversary in a rude and distant land, who had shown himself
+possessed of an extent of temporal power sufficient to counteract
+the power of Rome, even among the ecclesiastics themselves.</p>
+
+<p>It was before this great feud commenced that the Abbey was
+founded; but during its continuance the institution received, from
+whatever motives, many tokens of royal favor, as well as precious
+gifts from the great barons. Among the list of benefactors we find
+many of those old Norman names, which cease to be associated with
+Scottish history after the War of Independence. It is a still more
+striking instance of the community of interest between the two
+kingdoms anterior to this war, that while we find a Scottish king
+devoting a great monastic establishment to the memory of an English
+prelate, we should find an English king conferring special
+privileges and immunities within his realm on the Scottish brotherhood....</p>
+
+<p>The Abbey was founded for Tyronesian monks, and the parent
+stock whence it received its first inmates was the old Abbey of
+Kelso. In the year of the foundation, Reginald, elected &ldquo;Abbot of
+the Church of St. Thomas,&rdquo; was, with his convent, released of all
+subjection and obedience to the abbot and convent of Kelso. The
+church was completed and consecrated under the abbacy of Ralph
+de Lamley, in 1233. Aberbrothwick was one of those ecclesiastical
+institutions immediately connected with the spread of the Roman
+hierarchy, which gradually sucked up the curious pristine establishment
+of the Culdees; and the muniments of the Abbey thus afford
+some traces of the character and history of this religious body, at
+least towards the period of their extinction. Thus, while the Church
+of Abernethy, an ancient seat of the Culdees, is granted by King
+William to his new foundation, Orme of Abernethy, who is also
+styled Abbot of Abernethy, grants the half of the tithes of the
+property of himself and his heirs, the other half of which belongs to
+the Culdees of Abernethy, while some disposals of a strictly
+ecclesiastical character are made by the same document. Thus we
+find an abbot who makes disposal for his heirs&mdash;a counterpart to
+those references to the legitimate progeny of churchmen, which
+frequently puzzle the antiquary in his researches through early
+Scottish ecclesiastical history.</p>
+
+<p>The Abbot of Aberbrothwick possessed a peculiar privilege, the
+origin of which is in some measure associated with the Culdees&mdash;the
+custody of the Brecbennach, or consecrated banner of St. Columba.
+The lands of Forglen, the church of which was dedicated to
+Adomnan the biographer of Columba, were gifted for the maintenance
+of the banner. The privilege was conferred on the Abbey by
+King William, but as it inferred the warlike service of following the
+banner to the King&#8217;s host, the actual custody was held by laymen,
+the Abbey enjoying the pecuniary advantages attached to the
+privilege, as religious houses drew the temporalities of churches
+served by vicars.</p>
+
+<p>It will readily be believed that this, one of the richest and most
+magnificent monastic institutions in Scotland, numbered many
+eminent men among its abbots, who from time to time connect it with
+the early history of Scotland. It is even associated with a literature
+that has survived to the present day, in having been presided over
+by Gavin Douglas, the translator of Virgil. The two Beatons,
+Cardinal David and Archbishop James, also successively its abbots,
+give it a more ambiguous reputation. At the Reformation, the wealth
+of the Abbey was converted into a temporal lordship, in favor of
+Lord Claude Hamilton, third son of the Duke of Chatelherault, and
+the greater part of the temporalities came, in the seventeenth
+century, into the hands of the Panmure family.</p>
+
+<p>In a tradition immortalized by a fine ballad of Southey&#8217;s, it is said
+that the abbots of Aberbrothwick, in their munificent humanity preserved
+a beacon on that dangerous reef of rock in the German
+Ocean, which is supposed to have received its name of the &ldquo;Bell
+Rock&rdquo; from the peculiar character of the warning machinery of
+which the abbot made use:</p>
+
+<div class="poem">
+<div class="stanza">
+<span class="i0">&ldquo;The Abbot of Aberbrothwick</span><br />
+<span class="i0">Had placed that bell on the Inchcape rock,</span><br />
+<span class="i0">On a buoy in the storm it floated and swung,</span><br />
+<span class="i0">And over the waves its warning rung.</span><br />
+</div>
+
+<div class="stanza">
+<span class="i0">&ldquo;When the rock was hid by the surge&#8217;s swell,</span><br />
+<span class="i0">The mariners heard the warning bell;</span><br />
+<span class="i0">And then they knew the perilous rock,</span><br />
+<span class="i0">And bless&#8217;d the Abbot of Aberbrothwick.&rdquo;</span><br />
+</div>
+</div>
+
+<p>The tradition represents a rover, in the recklessness of prosperity
+and sunshine, cutting the bell-rope, and afterwards returning in foul
+weather to be shipwrecked on the rock from which he had impiously
+removed the warning beacon. No evidence of the existence of the
+bell is found in the records of the Abbey; and on the subject of its
+wanton removal, the sagacious engineer of the Northern Lights say,
+&ldquo;It in no measure accords with the respect and veneration entertained
+by seamen of all classes for landmarks; more especially as
+there seems to be no difficulty in accounting for the disappearance
+of such an apparatus, unprotected, as it must have been, from the
+raging element of the sea.&rdquo;<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></p>
+
+<div class="footnotes"><h3>FOOTNOTES:</h3>
+
+<div class="footnote"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> Annals, 1178.</p></div>
+
+<div class="footnote"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Stevenson on the Bell Rock Light-house, 69.</p></div>
+</div>
+
+<p class="padtop">DESIGN FOR A STORE. MESSRS. WAIT &amp; CUTTER, ARCHITECTS,
+BOSTON, MASS.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 600px;">
+<a name="SOCIETIES" id="SOCIETIES"></a>
+<h2><img src="images/aabn_13.png" width="600" height="89"
+alt="Decorative title"
+title="Societies" /></h2>
+</div>
+
+
+<h3>BOSTON SOCIETY OF ARCHITECTS.</h3>
+
+<p>Recommendations by the Boston Society of Architects, in regard
+to practice in obtaining estimates from contractors:</p>
+
+<p>1. Drawings, when offered for final or competitive estimates,
+should be sufficient in number and character to represent the proposed
+works clearly; should be at a scale of not less than one-eighth
+of an inch to the foot, and be rendered in ink or some permanent
+process.</p>
+
+<p>2. Proper details should be furnished for work that is not otherwise
+sufficiently described for estimate.</p>
+
+<p>3. Specifications should be in ink. They should be definite where
+not sufficiently defined and explained by drawings, and every distinctive
+class of work to be included in contract should be mentioned
+and placed under its appropriate heading.</p>
+
+<p>4. Contractors should be notified, at time of estimate, if they are
+to be restricted in the employment of their subcontractors.</p>
+
+<p>5. Sub-bids received by architects should be held as confidential
+communications until all the estimates in a given class of work have
+been submitted.</p>
+
+<p>The principal contractor should add to his bids all these subestimates
+while in the architect&#8217;s office, and should sign a tender in
+which the names of these above-mentioned subcontractors should be
+enumerated.</p>
+
+<p>6. A subcontractor should not (without his free consent) be placed
+under a general contractor, and no general contractor should be
+compelled to accept (without his free consent) the estimate of any
+subcontractor.</p>
+
+<p>7. Should a contractor decline to assume in his contract the estimate
+for any work not included in his original estimate, he should<span class='pagenum'><a name="Page_15" id="Page_15">[Pg&nbsp;15]</a></span>
+not thereby be denied the contract upon the portions of the work
+covered by his original estimate.</p>
+
+<p>8. Estimates should not be binding more than thirty days after
+received.</p>
+
+<p>9. Unless previous notification has been given to the contrary in
+the specification or otherwise, the lowest invited bidder is entitled to
+the contract. If radical changes are made, the whole competition
+should be reopened.</p>
+
+<p>10. After bids have been received, and before the award, bidders
+should not be allowed to amend their estimates.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 600px;">
+<a name="COMMUNICATIONS" id="COMMUNICATIONS"></a>
+<h2><img src="images/aabn_14.png" width="600" height="82"
+alt="Decorative title"
+title="Communications" /></h2>
+</div>
+
+<p>[<i>The editors cannot pay attention to demands of correspondents who
+forget to give their names and addresses as guaranty of good faith;
+nor do they hold themselves responsible for opinions expressed by
+their correspondents.</i>]</p>
+
+
+<p class="padtop">BARYE&#8217;S ADMIRER.</p>
+
+<p class="address"><span class="smcap">New York, N.Y.</span>, December 28, 1889.</p>
+
+<p><span class="smcap">To the Editors of the American Architect</span>:&mdash;</p>
+
+<p><i>Dear Sirs,</i>&mdash;I have just seen a letter from &ldquo;Anglo-American&rdquo;
+in your issue of December 14, in which he calls for the name of the
+English artist who said concerning the French sculptor, Barye:
+&ldquo;Had he been born in Great Britain, we would have had a group by
+Barye in every square in London.&rdquo;</p>
+
+<p>Th&eacute;ophile Silvestre reports this remark as if uttered in his
+presence. He says (1856) that the speaker was Mr. Herbert, an
+artist of distinction. Probably this was Arthur J. Herbert. Your
+correspondent takes the remark perhaps too literally, when it merely
+meant to express admiration through a slight exaggeration. Mr.
+Herbert would have been content to see a few squares only decorated
+with groups by an English equivalent of Barye, had one existed.</p>
+
+<p>As to the assertion by &ldquo;Anglo-American&rdquo; that Alfred Stevens
+was &ldquo;an artist not inferior to Barye&rdquo; it will be shared by few who
+have studied the works of the great French sculptor of animals and
+men.</p>
+
+<p>&ldquo;Anglo-American&rdquo; is right in saying that my short paper in
+<i>Harper&#8217;s Weekly</i> errs in giving two bronze groups after Barye to
+Mount Vernon Square, Baltimore, instead of four. Were I a
+resident of that city, I could hardly have known this better, and how
+the error got there puzzles me. Certainly had I been permitted to
+see a proof of that paper the mistake would have been corrected,
+unimportant as it is, so far as Barye is concerned. I must compliment
+your correspondent on the quickness of eye that detected the
+slip and regret that the proof-reader of <i>Harper&#8217;s Weekly</i> did not
+know his Baltimore to the same degree. But he is himself in error
+when he speaks of the &ldquo;<i>Life and Works of Antoine Louis Barye</i>,&rdquo;
+written by me and published by the Barye Monument Association as
+a catalogue. The catalogue is quite another thing from the <i>&eacute;dition
+deluxe</i>, which is the only edition of the &ldquo;<i>Life</i>.&rdquo;</p>
+
+<p class="author">Charles de Kay.</p>
+
+<hr style='width: 45%;' />
+
+
+<p class="padtop">EVAPORATION OF WATER IN TRAPS.</p>
+
+<p><span class="smcap">To the Editors of the American Architect</span>:&mdash;</p>
+
+<p><i>Dear Sirs,</i>&mdash;In a late issue of your journal an advocate of Trap-venting,
+says of ordinary S-traps &ldquo;If the traps are filled even once
+in two months they will keep their seals intact.&rdquo;</p>
+
+<p>Most persons now agree that S-traps which are back-vented in the
+ordinary manner require refilling by hand as often as once a fortnight.
+It is, therefore, clear that the system of back-venting is a
+very dangerous one. Its original object was to afford security. It
+is now found (and strangely enough, even by its advocates) that
+it totally fails in this respect and that it requires an amount of attention
+which experience and common-sense show us it will never
+receive.</p>
+
+<p>My experiments on the rate of seal-reduction through evaporation
+produced by back-venting were made with the greatest care and
+show a more rapid loss than is generally supposed. If the reports
+of these experiments are studied, it will be seen that every precaution
+was taken to secure trustworthy results. Although my experiments
+on siphonage were made during the same year and on the
+same system of piping with those on evaporation, it will be seen by
+studying the drawings and text of the report that the former in no
+wise interfered with the latter. No experiments on siphonage were
+made while the water stood high in the traps during the tests for
+evaporation, and no disturbance of the water seals was made by this
+or any other cause during the evaporation tests. It would have been
+exceedingly careless and totally unnecessary to allow of any such
+disturbance. Moreover, most of the experiments on evaporation
+were made, as shown, on a stack so connected with the rest of the
+system of piping that such disturbance would have been impossible.
+Even had we not so carefully closed the inlet or house-side of the
+traps.</p>
+
+<p>I found that a warm flue caused the back-vent pipe to evaporate
+enough of the water from the seal of the trap to break it in less than
+a week, and I am confident that this often happens in practice.</p>
+
+<p>How short-sighted and foolish is it to endeavor to throw discredit
+on these experiments which were made with the greatest care and
+honesty and which were witnessed and subscribed to by impartial
+experts, and to argue that, because other experiments made under
+different conditions showed a somewhat slower rate of evaporation,
+therefore cases could never occur in which the more rapid rate
+might be encountered in practice.</p>
+
+<p>It is likely that the public will very soon awake to a sense of the
+importance of investigating this matter for themselves. Their
+Boards of Health will then find that with a very small outlay they
+can obtain the truth; and that a vast amount of unnecessary complication
+and expense can be saved in plumbing and, at the same
+time greater security be obtained.</p>
+
+<p>When we consider, too, the well-known unreliability of the vent-pipe
+in other ways and the frequency with which it is found totally
+closed by grease, it becomes something more than folly to recommend
+the public to place implicit reliance upon it.</p>
+
+<p class="author">J. P. Putnam.</p>
+
+
+
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 600px;">
+<a name="NOTES_AND_CLIPPINGS" id="NOTES_AND_CLIPPINGS"></a>
+<h2><img src="images/aabn_15.png" width="600" height="82"
+alt="Decorative title"
+title="Notes and Clippings" /></h2>
+</div>
+
+
+<p><span class="smcap">The Divining-Rod.</span>&mdash;Professor Ray Lankester, having recently expressed
+some doubts of the alleged powers of a boy &ldquo;water-finder.&rdquo;
+Dr. McClure, who is chairman of the company by whom the boy is employed,
+has denied emphatically that the boy, whose name is Rodwell,
+is an impostor. He says that the lad, when tested, never failed to find
+either water or mineral veins, the lodes having always been found exactly
+at the places indicated. The divining-rod which he holds only
+moves in obedience to the muscular contraction of his hands, and a rod
+of any kind of wood, or even of any material substance whatever, can
+be used, provided it be a conductor of electricity. Dr. McClure&#8217;s
+statements have excited considerable comment in England. The
+phenomena of tests by the divining-rod are not by any means new.
+They have never been described from a scientific point-of-view, nor has
+any philosophical explanation of them ever been advanced, but there is
+no question whatever of their existence, and of their being now regarded
+by the most advanced scientists as beyond the region of
+chicanery and imposture. Mr. W. J. Jenks, in a recent lecture on
+&ldquo;The Protection of Electric Light Stations from Lightning,&rdquo; treats the
+subject very exhaustively, and shows that where the ability to locate
+electrical or magnetic attraction is vested in an individual the results
+are absolutely reliable. He instances the case of two gentlemen of
+Merrimac, Massachusetts, named Prescott, who for several years have
+given displays of this rare faculty. As an illustration of the certainty
+with which the Prescott brothers could indicate the location of electrical
+attraction, Mr. Jenks gives a well-authenticated incident which took
+place at Amesbury not long ago. Several old citizens were sceptical as
+to the accuracy of the conclusions supposed to have been reached, and
+determined on a severe test. Taking twenty or more citizens as witnesses,
+they requested the Prescott brothers to accompany them, and
+indicating a stretch of highway before them, some forty or fifty rods
+in length, stated that some years previous lightning had struck on that
+road, and wished to be informed as to the exact spot. Proceeding
+several rods, two cross currents were marked out; both extending for
+some distance in the travelled pathway and crossed by another at
+right angles. Testing carefully the roads in both directions, this
+electrical centre was pointed out as the greatest danger in the vicinity.
+The party was then invited to examine an ancient volume of official
+records, where it was chronicled that on the 7th of October, 1802, a
+man who was driving two yoke of cattle was struck by lightning in that
+exact spot and, with all his animals, was instantly killed. The occurrence
+had been deemed at the time so remarkable that the circumstance,
+with a minute description of the locality, had been recorded,
+though long forgotten by all but perhaps a few of the oldest citizens.</p>
+
+<hr style='width: 45%;' />
+
+<p><span class="smcap">The Dangers of Electricity.</span>&mdash;The rapid spread of electric lighting
+in America has not been accomplished without very considerable
+loss of life. From a list compiled by Mr. Harold P. Brown, of New
+York, we learn that eighty-seven persons have been killed up to the
+commencement of this year. This is a very serious total, and if there
+were any likelihood of the rate being maintained, it would supply
+ample reason for very stringent legislative control being exercised over
+all electric installations. Happily many of the accidents may be attributed
+to the want of knowledge which always characterizes a new
+manufacture, while numbers of them are also due to the hasty and
+careless methods of erection adopted in America. Both these causes
+may be expected to decrease rapidly in the future, particularly if the
+municipalities insist on the mains being placed underground, instead of
+being strung on poles in the streets. Mr. Brown is well-known from
+his persistent opposition to the alternate current system; he never
+misses an opportunity of insisting upon its dangers, and of comparing
+it, to its detriment, with the direct-current system. Now as the
+alternate system is rapidly spreading all over London and also in many
+parts of the kingdom, this is a question which interests us directly.
+Are we running special risks by permitting its establishment? As far
+as lighting currents of fifty or one hundred volts are concerned, it
+certainly matters little or nothing whether they are direct or alternate,
+for neither will produce any serious injury on the human frame. When
+it comes to currents of distribution of two thousand volts, then it is
+quite conceivable that death is more certain by the alternate current,
+but unfortunately it is also fairly certain with the direct current, so that
+there is very little to choose between them. A house in which the
+fittings were charged to such a potential would be as dangerous as a
+battlefield. What is wanted is sufficiently good workmanship to prevent
+contact ever being made between the distributing mains and the<span class='pagenum'><a name="Page_16" id="Page_16">[Pg&nbsp;16]</a></span>
+service wires, and this there should be no difficulty in obtaining.
+Even if a leak should occur the device of putting the service main to
+earth at one point will prevent it doing any harm. Mr. Brown refers
+to two cases in which men were killed by contact with a perfectly insulated
+wire, their death being caused by the static charge. We feel
+considerable doubt as to the possibility of any one being killed by a
+static charge under these circumstances; we prefer to believe that the
+insulator was bad, probably a mere taping of non-waterproof material.
+Just as the death-rate on a railway varies inversely as the perfection of
+the signalling appliances, so the fatalities in America from electricity
+will decrease as better materials are adopted, and more care is expended
+in erection.&mdash;<i>Engineering.</i></p>
+
+<hr style='width: 45%;' />
+
+<p><span class="smcap">The Monolithic Church of St. Emilion.</span>&mdash;About twenty miles to
+the north-east of Bordeaux is Libourne, one of the principal towns
+founded by Edward I. This flourishing commercial town was the ruin
+of its neighbor, St. Emilion, which affords a fine field for the antiquary,
+nearly the whole town consisting of buildings of the Middle Ages. A
+considerable part of the town wall of the twelfth century remains, with
+the ditch, now turned into vineyards, and at one corner is a fine house
+of the same period, which is called the Palace of the Cardinal de la
+Mothe, who may perhaps have resided in it; but it is at least a century
+older than his time, and can hardly be later than 1200, as will at once
+be seen by the details. The French antiquaries say that it was built by
+the Cardinal in 1302, and speak of it as a remarkable synchronism in
+art; but the fact appears to me simply incredible. The most remarkable
+feature of St. Emilion is the monolithic church, which is probably
+one of the most curious of its class. It is cut entirely out of the solid
+rock, and is of early Romanesque character. The precise date is uncertain,
+but it appears most probable that the work was commenced in the
+eleventh century, and carried on through the whole of the twelfth. St.
+Emilion is said to have lived in the eighth century. A fragment of an
+inscription remains, the characters of which agree with the eleventh
+century; but some of the French antiquaries attribute it to the ninth.
+Others consider it as merely the crypt of the church above on the top
+of the rock; but that church is of much later character, and it is much
+more probable that the subterranean church was first made, and the
+other built long afterwards, when the country was in a more settled
+state. This church is 115 feet long by 80 wide. It consists of three
+parallel aisles, or rather a nave and two aisles, with plain barrel-shaped
+vaults, if they can be so called, with transverse vaults or openings, and
+round arches on massive square piers; the imposts are of the plain early
+Norman character, merely a square projection chamfered off on the
+under side, but one of them is enriched with the billet ornament. There
+are recesses for tombs down the sides, and a fourth aisle or passage has
+been cut out on the south side, apparently for tombs only, as it has recesses
+on both sides to receive the stone coffins. Still farther to the
+south, but connected by a passage, is a circular chamber in an unfinished
+state, with a domical vault, and an opening in the centre to a shaft
+which is carried up to the surface. Whether this was intended for a
+chapter-house, or for a sepulchral chapel in imitation of the Holy Sepulcre,
+is an undecided point. I incline to the latter opinion. This subterranean
+church or crypt is necessarily lighted from one end only,
+where it is flush with the face of the rock; and these openings are filled
+with Flamboyant windows, which are very evident insertions. On the
+surface of the hill over this church, but with a large space of solid
+rock intervening, is the tower and spire belonging to it. The tower is
+of late Norman and Transitional character surmounted by a Flamboyant
+crocketed spire. There is a kind of well or flue cut through the
+rock under the tower into the church below, apparently for the bell-ropes.
+In the church are remains of early painting, and some shallow
+sculpture, the character of which appears to be of the twelfth century.
+Adjoining to the church, on the south side, is a detached chapel of
+transition Norman work, with an apse vaulted with good ribs and vaulting
+shafts. A considerable part of the old painting is preserved; some
+of the ribs are painted with zigzags. Under this chapel is a crypt or
+cave cut out of the rock called the Grotto of St. Emilion, with a spring
+of water in it. The work is of the same early character as the other
+vaults.&mdash;<i>J. H. Parker.</i></p>
+
+<hr style='width: 45%;' />
+
+<p><span class="smcap">Another Tall Chimney.</span>&mdash;A factory chimney, said to be the
+highest in the world, is now being erected at the Royal Smelting-Works,
+near Freiberg, in Saxony. The horizontal flue from the works to the
+chimney is 1,093 yards long; it crosses the river Mulde, and then takes
+an upward course of 197 feet to the top of the hill upon which the chimney
+is being built. The base of the structure is thirty-nine feet square
+by thirty feet in height, on which is placed a short octagonal transition,
+from which the round shaft starts. This is 430 feet high, or altogether,
+with the base 460 feet high, with an inside diameter of twenty-three feet
+at the bottom, and sixteen feet and six inches at the top. It will take
+1,500,000 bricks, and the cost is &pound;6,000.&mdash;<i>Exchange.</i></p>
+
+<hr style='width: 45%;' />
+
+<p><span class="smcap">Site of a Locrian Town.</span>&mdash;The site of an ancient city of the Locri
+in modern Calabria, Italy, is in progress of excavation, under the direction
+of Dr. Orsi. The modern name of the spot is Gerace. A temple
+of six columns has been unearthed, and among the prizes is a Greek
+group in Parian marble, showing a divinity with a fishtail, a horse and
+a nude youth. The group is supposed to have been placed in the pediment
+of the west gable. Other finds are awaited.&mdash;<i>New York Times.</i></p>
+
+<hr style='width: 45%;' />
+
+<p><span class="smcap">The Watkin Tower.</span>&mdash;Four hundred plans have already been
+received by the committee who offered prizes for the best and second-best
+plan for the proposed Watkin tower&mdash;the English Eiffel. It has
+been said that it will be so high that all that need be done when fog
+comes on will be to enter the lift and in a few minutes be up in the clear
+blue.&mdash;<i>Boston Post.</i></p>
+
+<hr style='width: 45%;' />
+
+<p><span class="smcap">Persian Court Art.</span>&mdash;M. Georges Perrot will maintain in his forthcoming
+volume on Persian art, being the fifth volume of &ldquo;The History
+of Art,&rdquo; that the old art of Persia had nothing to do with the Persian
+people, being simply official or Court art. The designers and builders,
+sculptors and artists, were, he thinks, not Persians, but Greeks. The
+architect of the palaces of Darius was a Greek or a Ph&oelig;nician.&mdash;<i>New
+York Times.</i></p>
+
+
+
+<hr style="width: 65%;" />
+
+<div class="figcenter" style="width: 600px;">
+<a name="TRADE_SURVEYS" id="TRADE_SURVEYS"></a>
+<h2><img src="images/aabn_16.png" width="600" height="85"
+alt="Decorative title"
+title="Trade Surveys" /></h2>
+</div>
+
+
+<p>There are signs of a subsidence of popular hostility to railroad combinations,
+trusts and commercial and manufacturing organizations of various
+kinds intended to conserve mutual interests. If the granger spirit had its
+own way it would, through its control of the legislative mills, grind a good
+many corporations to powder, and do tenfold more damage by its destructive
+methods than could possibly be repaired by mistaken remedies. It is,
+after all, a question whether any form of combination is possible which can
+very long do much damage to the people at large. These gigantic commercial
+and railroad organizations with which we have recently become
+familiar are giant-like efforts of enormous interests to rise up out of old
+conditions. Progress and development must take place, and the efforts of
+trusts, associations and combinations by whatever name known are simply
+the preliminary movements of mighty interests to reorganize themselves
+upon a broader and higher platform. The people in their jealousy and
+anxiety to protect themselves have, in some sections of the country, run into
+the adoption of extreme measures. They are already preparing to retrace
+their steps, and for several reasons. They are discovering that they have
+been fighting a bugbear; also, that their legislation against the bugbear
+cannot legislate. Also, that money stays away from radical communities,
+that many possible advantages are lost; that combinations properly controlled
+have, within themselves, the capabilities of accomplishing much
+good. Despite the threatened damage of these monster combinations
+prices have been quietly and steadily declining in nearly every direction;
+railroad freights have slipped down, notch after notch. Association after
+association has come and gone, and the Interstate Railway Law itself is in
+danger of being set aside for something better. The people are learning to
+have less fear of these combinations, and more confidence in themselves
+and for the underlying laws of trade. The year ends with gratifying results
+to business men in every avenue of activity. The action of the
+Treasury Department furnishes a hint to the country that a large supply of
+currency may soon become a necessity. The evil that would result from an
+unexpected and prolonged financial stringency cannot be measured. Over
+five thousand new corporations, firms and business associations have
+started in the South last year, as against something like 3,700 for 1888.
+Never in our history was there such an incubation of new business
+ventures. A stringency in money will destroy these by the thousand.
+Two or three scores of railroad enterprises which have reached the stage of
+bond-issuing would also be thrown aside, and thousands of enlargements of
+manufacturing and mining properties would be postponed; but it is useless
+to borrow trouble, or to paint dismal possibilities, as it is to be presumed
+that the people and their spokesmen fully understand the question.
+There is not a single branch of business in which reasonable fault can be
+found with results, excepting the one general result of very narrow
+margins. Consuming-capacity, on the whole, has increased. The wage-earners
+are earning as much as for years past, and are receiving more for
+their expenditures; that is to say, less of the product of labor in the aggregate
+is being absorbed by middlemen, or what might be termed non-productive
+agencies. The production of labor is being more evenly and equitably
+distributed than ever before. The ideal justice dreamed of by the
+philosophic socialists is within reach. In short, the wage-worker is better
+off, has more advantages, greater opportunities, and is yearly becoming a
+more important factor in the Government.</p>
+
+<p>As long as railway gross and net earnings continue to improve no reaction
+is to be feared, according to the dictum of Wall Street. There are strong
+probabilities that the favorable showing will continue. The anthracite
+coal production for 1889 foots up 35,200,000 tons, as against 38,145,718 tons
+for 1888. The distribution of soft coal throughout the New England and
+Middle States for steam-raising and general manufacturing purposes is
+gradually increasing. Last week&#8217;s distribution of Connellsville coke reached
+the unprecedented figures of 125,000 tons. The production for the year
+foots up over 4,500,000 tons. The expansion and development of industries
+throughout the Middle and Southern States continues, and hundreds of
+new enterprises will take shape early in the spring. Iron and steel makers
+are projecting new furnaces and mills in Pennsylvania, Ohio, Kentucky,
+Tennessee and Alabama. Some forty or fifty cotton mills are projected
+between Georgia and Texas. Mining companies representing fully forty
+million dollars of capital&mdash;that is, actual working capital&mdash;will begin
+operations this winter along the eastern slope of the Rocky Mountains.
+Industrial and building activity will take a fresh start upon the Pacific
+coast. Among the branches which will be developed will be saw-mill and
+foundry building. Machinery, engines, castings of all kinds, stoves and
+small iron and wood work are in great demand all along the coast from the
+Columbia River to Los Angeles. A great deal of capital and enterprise has
+been encouraged thither during 1889, and, as a result, manufacturing is
+greatly stimulated. The Dominion Government is also alive to the importance
+of developing relations with Asiatic and other foreign countries, and ship-lines
+are projected from its western seaports to foreign countries. Railroad-building
+is also being greatly stimulated by private enterprise. A
+vast amount of capital is drifting into the Rocky Mountain and Pacific
+coast regions from Eastern cities, and a great empire is being built up
+there which will be a source of wealth to those who obtain possession of
+land, timber, minerals and manufacturing facilities before the general enhancement
+of values takes place. The benefits originally contemplated by
+the construction of the trans-continental roads are now only being felt in
+their intensity. Irrigation companies, heavily capitalized, are doing excellent
+work in reclaiming vast tracts which geographers declared lost to all
+future utility. Mining engineers who have made a very careful examination
+and survey of much Western territory in the interest of Boston and
+New York moneyed men furnish evidences of wealth in those sections,
+which cannot but bring to them the money and enterprise necessary to
+their full development. The smaller industries throughout the States east
+of the Mississippi River are all doing well. Manufacturers are making
+money, but not as rapidly as they would like. Competition is exercising a
+healthy restraining influence. Like interests are being drawn together
+through the spirit of organization. Manufacture and agriculture are evenly
+balancing themselves. Commercial failures for 1889 show a moderate
+increase, but, considering the rashness with which ill-equipped persons
+enter into business and manufacturing, it is surprising that the failures are
+so few.</p>
+
+<hr style='width: 45%;' />
+
+
+<p class="center"><span class="smcap">S. J. Parkhill &amp; Co.</span>, Printers, Boston.</p>
+
+<p>
+<br />
+<br />
+<br />
+</p>
+
+<div class="bbox">
+<p><b>Transcriber's Note:</b></p>
+
+<p>A brief list of contents for the index has been added for ease of navigation.</p>
+
+<p>Minor printer errors (omitted or incorrect punctuation, missing or transposed
+letters etc.) have been corrected without note. All remaining variations in
+spelling, hyphenation, etc. are preserved as in the original, with the
+following exceptions:</p>
+
+<div class="blockquot"><p>
+<a href="#Page_iv">Page iv</a>&mdash;Concontractors amended to Contractors&mdash;"Estimates. Builders&#8217;
+and Sub-Contractors&#8217;, 161"<br />
+
+<a href="#Page_iv">Page iv</a>&mdash;Jud&aelig;an amended to Judean&mdash;"Judean Tombs, 117"<br />
+
+<a href="#Page_v">Page v</a>&mdash;Scandinavan amended to Scandinavian&mdash;"Scandinavian Art, 37, 53,
+63"<br />
+
+<a href="#Page_v">Page v</a>&mdash;Maxmilian amended to Maximilian&mdash;"Tomb. [of] Maximilian at
+Innsbruck, 61"<br />
+
+<a href="#Page_vii">Page vii</a>&mdash;place name and page reference transposal reversed&mdash;"Strozzi
+Palace, Florence, 70"<br />
+
+<a href="#Page_viii">Page viii</a>&mdash;Ruitz amended to Rintz&mdash;"Berlin, Ger. ... House on the
+Yorkstrasse. Herr Rintz, ..."<br />
+
+<a href="#Page_viii">Page viii</a>&mdash;Willisch amended to Wellisch&mdash;"Buda-Pesth, Austria. House of
+Herr Hatner. Alfred Willisch, ..."<br />
+
+<a href="#Page_viii">Page viii</a>&mdash;Felixtowe amended to Felixstowe&mdash;"Felixstowe, Eng. The
+Gables." etc.<br />
+
+<a href="#Page_viii">Page viii</a>&mdash;repeated 'the' deleted&mdash;"Painting by Puvis de Chavannes in
+the Grand Hall ..."<br />
+
+<a href="#Page_5">Page 5</a>&mdash;succedded amended to succeeded&mdash;"... far from honourable, have
+succeeded in getting control ..."<br />
+
+<a href="#Page_7">Page 7</a>&mdash;scholorship amended to scholarship&mdash;"... to whom scholarship is
+dear ..."<br />
+
+<a href="#Page_9">Page 9</a>&mdash;argillacious amended to argillaceous&mdash;"... of a loose
+argillaceous irony matter ..."<br />
+
+<a href="#Page_9">Page 9</a>&mdash;repeated 'is' deleted&mdash;"... showing that it is not its
+geological position ..."<br />
+
+<a href="#Page_11">Page 11</a>&mdash;gripe amended to grip&mdash;"... carrying a lion whose dreadful
+grip his frantic rearing cannot loosen."</p></div>
+
+<p>The index entry on <a href="#Page_vi">page vi</a>, Suggestion for the Executive Mansion by
+Theodore F. Laist, etc. has no page reference in the original
+publication.</p>
+
+<p>Illustrations have been shifted slightly so as not to fall in the middle of
+paragraphs.</p>
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of The American Architect and Building
+News, Vol. 27, Jan-Mar, 1890, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK AMERICAN ARCHITECT ***
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@@ -0,0 +1,6221 @@
+The Project Gutenberg EBook of The American Architect and Building News,
+Vol. 27, Jan-Mar, 1890, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The American Architect and Building News, Vol. 27, Jan-Mar, 1890
+
+Author: Various
+
+Release Date: May 24, 2007 [EBook #21596]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK AMERICAN ARCHITECT ***
+
+
+
+
+Produced by Juliet Sutherland, Sam W. and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+           THE
+    AMERICAN ARCHITECT
+           AND
+      BUILDING NEWS
+
+        VOL XXVII
+
+      JANUARY-MARCH
+          1890
+
+TICKNOR & CO. PUBLISHERS.
+ 211 TREMONT ST. BOSTON.
+
+
+S. J. PARKHILL & CO. Printers
+Boston Mass.
+
+
+
+
+[Illustration: The AMERICAN ARCHITECT AND BUILDING NEWS]
+
+INDEX TO VOLUME XXVII.
+
+JANUARY-MARCH, 1890.
+
+
+Abattoirs, 128
+
+Aberbrothwick. The Abbey of, 13
+
+Aboriginal Races of America. The, 151
+
+ACCIDENTS:--
+  Fall of a Hotel in Sydney, N.S.W., 184
+   "   "  " Scaffold, 104
+   "   "  St. Louis Academy of Music, 66
+   "   "  the Roof of the Flora Hall, Hamburg, 196
+
+Agreement between Architect and Client, 30
+
+Albany Capitol. Defective Gutters on the, 97
+
+Aluminium from Bauxite, 194
+
+Alva. Statue of the Duke of, 74
+
+America. The Aboriginal Races of, 151
+
+_American Architect_ Travelling-Scholarship Design for a New White
+    House. The, 158
+
+American Bricks, 77
+
+A.I.A. Convention. The, 79
+  "    Illinois Chapter of, 182
+  "    Philadelphia Chapter, 46
+  "    St. Louis Chapter, 206
+  "    Washington Chapter, 43
+
+Amsterdam. High-level Bridge for, 47
+
+Ancient Architecture, 19, 35, 51
+
+Andre, Architect. Death of Jules, 145 " The Career of M. Jules, 162
+
+"Angelus." Millet's, 12
+
+Apartment-house. The, 3
+
+ARCHAEOLOGICAL:--
+  Burial Mounds, 99, 151
+  Cleopatra's Tomb, 141
+  Delphi. The Proposed Excavations at, 65
+  Dighton Rock. The, 93
+  Hissarlik Controversy. The, 144
+  History of Habitation. The, 149, 168
+  Locrian Town. The Site of a, 16
+  Maya. Temples of Ancient, 204
+  Mesopotamia. Explorations in, 160
+  Obelisk. Protecting the New York, 178, 207
+  Persian Court Art, 16
+  Rome. Discovery of an Ancient Viaduct in, 80
+  St. Emilion. The Monolithic Church of, 16
+  Scandinavia. Discoveries in, 63
+  Uxmal, 204
+  Vikings. The Art of the, 37, 53
+  Yucatan. Ancient Temples in, 204
+     "     Exploring Expedition. A New, 112
+     "     Ruins and Works of Art in, 58
+
+Arches. Concrete, 1
+
+ARCHITECT:--
+  New York State. The, 206
+
+ARCHITECTS:--
+  Annoyances of. The, 194
+  Chimney-flues and, 146
+  Dismissal of. The Right of, 158
+  Examinations and Diplomas, 162
+  in Canada. The Registration of, 183
+   " Spanish America, 18
+  Incomes of. The, 1, 47, 127
+  Libel-suit Between. A, 206
+  New South Wales Institute of. Quarrel in the, 183
+  of Mons Cathedral. The, 114
+  Office. A Chicago, 50
+  Ontario Association of, 41
+  Philadelphia Master-Builders and the, 161
+  Reputation of. The Influence of Architectural Journals on the, 17
+  Responsibility of. The, 2, 130
+  Stray Thoughts for Young, 90
+  Suit against a Railroad. An, 194
+
+ARCHITECTURAL:--
+  Club. Boston, 95
+  Drawings at the League Exhibition, 40, 57, 143
+      "    Philadelphia Exhibitions of, 107, 146
+  Education at Munich, 181
+      "     in France, 162
+  Exhibition at the Pennsylvania Academy, 107
+  Journals on the Reputation of Architects. The Influence of, 17
+  League Exhibition. The, 40, 57, 143
+  Prints. Arranging, 207
+  Shades and Shadows, 56
+  Styles. Changes of, 108
+  Water-color Drawings, 107
+
+ARCHITECTURE:--
+  Ancient, 19, 35, 51
+  at Evanston, Ill., 118
+  Civil and Domestic, 19, 35, 51, 67, 83
+  Decoration and, 6
+  Funerary, 99, 115, 131, 147, 163
+  History of. The, 150
+  in Baltimore, 187
+   " Brooklyn, 5
+  of the Brooklyn Institute. Department of, 206
+  Military, 179, 195
+  Sculpture and, 7
+  Spanish. Sir Frederick Leighton on a Device of, 146
+  Study of. The, 6
+
+Army Engineer and our Public Buildings. The, 143
+
+Arranging Architectural Prints, 207
+
+Art Museum. The Cost of a Small, 23
+ "  of the Vikings. The, 37, 53
+ "  The Tariff on Works of, 18
+
+Artificial-ice Skating-rink. An, 145
+
+Artists. Quarrel among French, 80
+
+Asphalt Paving, 82
+
+Assyrian Architecture, 20
+   "     Fortifications, 179
+   "     Tombs, 116, 144
+
+Australia. Engineering Triumphs in, 106
+    "      Letters from, 106, 183
+    "      Roman Catholic Buildings in, 107
+
+Automatic Sprinklers in Mills, 177
+
+
+BALTIMORE:--
+  Architecture in, 187
+  Building-permits in, 97
+  Letters from, 187
+  Pennsylvania Steel Company's Works near. The, 188
+  Railway. The proposed "Belt Line," 188
+
+Balveny Castle, Scotland, 61
+
+Barye Exhibition. The, 10
+
+Barye's English Admirer, 15
+
+Bauxite. Aluminium from, 194
+
+Belgian Prizes and Honors, 34
+
+Belle Isle Dam. The Straits of, 48
+
+Belt Line Railway for Baltimore. A, 188
+
+Berlin Industrial Museum Exhibition, 174
+  "    Technical College. The, 140
+
+Beryt or Fluid Marble, 160
+
+Bids. The Right of Revising, 194
+
+"Black-lining"? What is, 65
+
+Books on School-houses, 207
+
+Borrowing Suburban Fire-Engines, 18, 146
+
+BOSTON:--
+  Architectural Club, 95
+  Building Laws. The, 109
+  Fires. Water Used in, 79
+  Letter from, 190
+  Lock-out in the Freestone-Cutting Trade, 161, 177
+  Manufacturers Mutual Fire Insurance Company. Annual Report of, 177
+  Museum of Fine Arts. The, 175, 190
+  Society of Architects, 14
+  Walking-delegate's Power. A, 193
+
+Botticher _vs._ Dr. Schliemann. Dr., 144
+
+Bourse du Commerce, Paris. The New, 185
+
+Brentano, Architect. Death of Signor, 130
+
+Brick. Cheap Unbaked Colored, 176
+
+Bricks. American, 77
+
+Bridge at London. The Tower, 192
+   "   for Amsterdam. High-level, 47
+   "   Testing the Forth, 160
+   "   The Hawkesbury Railway, 106
+
+Bridges in China. Ancient, 96
+
+British Museum. Electric-Light at the, 104
+
+Brooklyn. Architecture in, 5
+   "      Institute. Department of Architecture of the, 206
+
+Bronze Gates for Cologne Cathedral, 135
+
+Brunswick Monument at Geneva. The, 18
+
+Buenos Ayres, 18
+
+Builders. Convention of National Association of Master, 34, 81
+
+BUILDING:--
+  Committee. A Competitor's Suit against a, 104
+  Contracts. German, 82
+  Laws. The Boston, 109
+  Permits in Baltimore, 97
+  Safe, 121, 135, 197
+  Stones. Decay of, 98
+  Swedish Penalties for Bad, 72
+  Syndicate. Proposed, 81
+  Trades. Troubles in the, 193
+
+Bull-fights in Paris, 130
+
+Bull-ring for Paris. Proposed, 50
+
+Bureau of Ethnology's Fifth Annual Report. The, 151
+
+Burial-mounds, 99, 151
+
+Building and the Underwriters. Safe, 49, 97
+
+Burmese Temples. Jewels in, 58
+
+Burnham & Root's Office, 50
+
+Byzantine Architecture, 52
+
+
+Canada. Letters from, 41, 104, 182
+   "    Proposed Public Buildings in, 104
+   "    The History of Education in, 183
+   "    The Registration of Architects in, 183
+
+Cast-iron and its Treatment for Artistic Purposes, 201
+    "     Pavements, 192
+
+Castle Campbell, Scotland, 127
+  "    of St. Angelo, Rome. The, 208
+  "    "  Vincigliata, Italy. The, 62
+
+Casts at the Boston Art Museum, 190
+
+Catacombs, 147
+
+Cathedral. Bronze Gates for Cologne, 135
+    "      Drawings at the League Exhibition, 30, 62
+    "      of Mons. The, 114
+    "      "  St. Machar. The, 27
+    "      Strasbourg, 153
+    "      The Completion of Milan, 130
+    "      Towers, 92, 102
+
+Cathedrals. Clearing away Buildings around, 162
+
+Cats. Egyptian Mummy, 208
+
+Cawdor Castle, Scotland, 110
+
+Celtic Tumuli, 99
+
+Cement. Palming off Poor, 113
+
+Cemented Surfaces. Painting on, 146
+
+Cemeteries. Mediaeval, 164
+
+Cemetery Vaults, 47
+
+Centennial Hall, Sydney, N.S.W., 184
+
+Charges. A Question of, 207
+
+CHICAGO:--
+  Letters from, 118, 182
+  Suburban Building in. Rapid Transit and, 182
+  World's Fair. The, 177, 182
+
+Chimney. A Tall, 16
+   "     flues. Architects and, 146
+
+China. Ancient Bridges in, 96
+
+Chinese Architecture, 19
+
+Christians. The Primitive, 147
+
+Church-restoring by Lottery, 128
+  "    Towers, 91, 92, 102
+
+Churches. The Picturesque Lighting of, 146
+
+Cippi, 134
+
+Circular Annoyance. The, 194
+
+"City of the Gods," Mexico. The, 172
+
+Civil and Domestic Architecture, 19, 35, 51, 67, 83
+
+Clark, Architect. Death of George, 63
+
+Cleopatra's Tomb, 141
+
+Clerk-of-works Question. The, 79, 111, 159
+
+Cohesive Construction, 123
+
+Cologne Cathedral. Bronze Gates for, 135
+   "        "      Clearing away Buildings around, 162
+
+Color Changes in New York Buildings, 108
+
+Colored Brick. Cheap unbaked, 176
+
+Columbaria, 134
+
+Columns. Ventilating Wooden, 31
+
+Commission on a Standing Party-wall, 142
+
+Commissioner of the Albany Capital The, 206
+
+Commissions. The Question of, 31, 159
+
+Compensation. A Question of, 207
+
+COMPETITIONS:--
+  Drawings, 40, 62, 65
+  Grant Monument. The, 145
+  Hartford Railroad Station. The, 194
+  Montreal Insane Asylum, 104
+  New York Episcopal Cathedral, 40, 62
+  Quebec City-hall. The, 63
+  Sheffield Municipal Buildings. The, 33
+
+Competitor's Suit against a Building-committee. A, 104
+
+Composite Metal. A New, 93
+
+Concentrated Residence in various Countries, 88, 119
+
+Concrete Arches, 1
+
+"Concrete." Laying a Foundation of Dry, 113
+
+Concrete. Wrong Methods of Mixing, 114
+
+Conde. Fremiet's Figure of, 76
+
+Congressional Palace. The Mexican, 96
+
+Construction. Cohesive, 123
+      "       German, 155
+      "       Improvements in Mill, 177
+      "       Slow-burning, 29, 97
+
+Contract. The Lowell City-hall, 194
+    "      "  "Standard Form" of, 81
+    "     taking Labor Syndicates, 194
+
+Contracting Syndicate. Proposed, 81
+
+Contractors. Great, 95
+
+Contractor's Profit-sharing. A, 2, 43
+
+Contracts. German Building, 82
+    "      Importance of Written, 65
+
+Convention of National Association of Master-Builders, 34, 81
+
+Copan in Yucatan. The Ruins of, 59
+
+Copper-rolling. Remarkable, 80
+
+Corrections, 79
+
+Cotman. John Sell, 174
+
+Count and his Machine. A Mysterious, 112
+
+County Council. The London, 104
+
+Coverings for Steam-pipes, 22, 157
+
+Craigievar Castle, Scotland, 189
+
+
+Dalmeny Church, Scotland, 189
+
+Dam. The Straits of Belle Isle, 48
+
+Dangers of Electricity. The, 15, 27
+
+Dead. The Disposition of the, 24
+
+Deaths from Electricity, 15, 27
+
+Decay of Building Stones. The, 98
+
+Decoration and Architecture, 6
+
+Decorative Paintings in the new Bourse du Commerce, Paris. The, 185
+
+Delphi. The Proposed Excavations at, 65
+
+Dessication of the Dead, 25
+
+Dighton Rock. The, 93
+
+Directory. A Lamp-post, 98
+
+Dismissal of an Architect. The Right of, 158
+
+Divining-rod. The, 15
+
+Domes. Spires, Towers and, 91, 101
+
+Domestic Architecture. Civil and, 19, 35, 51, 67, 83
+
+Doors. Fire, 156
+
+Drawing Instruments. A Yale Professor's Trouble through Prescribing,
+    66
+
+Drawings at Architectural League Exhibition, 40, 57, 143
+   "     "  Philadelphia. Exhibition of Architectural, 107, 146
+   "     "Black-lining" Competition, 65
+
+Durand, Architect. Death of George F., 1
+
+Duty on Window-glass. The, 31
+
+
+Earnings of Architects. The, 1
+
+East River Tunnel. The Proposed, 178
+
+Education in Canada. The History of, 183
+
+Effigies. Funeral, 164
+
+Egyptian Architecture, 20
+   "     Fortifications. Ancient, 179
+   "     Tombs, 99, 115
+
+Eight-hour Movement. The, 1, 93, 194
+
+ELECTRIC:--
+  Light at the British Museum, 104
+  Lights and Motors, 79
+  Railways, 64, 111, 128
+  Reading light for Railways, 50
+  Welding, 176
+  Wire. The Queen of Greece and an, 128
+
+Electrical Terms, 44
+
+Electricity and Insurance, 79
+     "      The Dangers of, 15, 27
+
+Elevator in Stockholm. An American, 111
+
+Emperor Frederick. A Statue of the, 208
+
+Engine. A new Style of Railway, 82
+
+Engineer and our Public Buildings. The Army, 143
+
+ENGINEERING:--
+  Bridge. A complete Account of the Forth, 177
+     "    for Amsterdam. High-level, 47
+     "    London's Tower, 192
+     "    Testing the Forth, 160
+     "    The Hawkesbury Railway, 106
+     "    in China. Ancient, 96
+  Dam. The Straits of Belle Isle, 48
+  Docks at Vizagapatam. Mud, 63
+  Electric Railways, 64, 111
+  Elevator in Stockholm. American, 111
+  Railroad. A Pneumatic Street, 95
+     "      for Baltimore. A Proposed Belt-line, 188
+  Tower for the Exhibition of 1892. High, 177
+    "   The Watkin, 16, 105
+  Tunnel. The East River, 178
+     "     "  St. Clair River, 128
+     "     "  Washington Aqueduct, 103
+  Water-power. A Remarkable, 47
+
+"Entombment" in Mexico. A Titian, 60
+
+Entombment. Sanitary, 24
+
+Episcopal Cathedral, New York, Competition, 40, 62
+
+Equestrian Monuments, 72, 170
+
+Estimates. Builders' and Sub-Contractors', 161
+
+Ethnology's Fifth Annual Report. The Bureau of, 151
+
+Etruscan Architecture, 36
+   "     Tombs, 131
+
+Evanston, Ill. Architecture at, 118
+
+Evaporation of Water in Traps, 15
+
+Examinations and Diplomas. Architects', 162
+
+EXHIBITION:--
+  Architectural League. The, 40, 57, 143
+  Boston Architectural Club, 95
+  of 1892. The Chicago, 177
+
+EXHIBITIONS:--
+  of Architectural Drawings at Philadelphia, 107, 146
+
+EXPOSITION OF 1889:--
+  Algerian Pavilion at the, 105
+  Buildings of the, 21, 105
+  Cairo Street at the, 105
+  Cochin-Chinese Pavilion at the, 106
+  Colonial Sections at the, 105
+  Double Statue at the, 32
+  Forestry Pavilion at the, 105
+  History of Habitation at the, 149, 168
+  Indian Pavilion at the, 105
+  Palaces of Liberal and Fine Arts, 21
+  Pavilions at the. The City of Paris, 21
+  Portuguese Pavilion at the, 105
+  Sanitary Exhibits at the, 21
+  Spanish Pavilion at the, 105
+  Tunisian Pavilion at the, 106
+  Views of Old Paris at the, 21
+
+
+Fall of a Hotel in Sydney, N.S.W., 184
+  "  "  St. Louis Academy of Music, 66
+  "  "  the Roof of the Flora Hall, Hamburg, 196
+
+Ferstel. Baron, 66
+
+Feudal Military Architecture, 195
+
+Fifteenth Century "Working-day." A, 155
+
+FIRE:--
+  Apparatus, 29
+  Backs, 201, 203
+  Destruction of Toronto University by, 182
+  Doors, 156
+  Engines. Borrowing Suburban, 18, 146
+  in Secretary Tracy's House. The, 186
+  Loss. Reducing the, 28
+
+Fireplace Throat. The Open, 159
+
+Fireproof Floor. The Schneider, 158
+    "     Whitewash, 208
+
+FIRES:--
+  in American Cities, 97
+  "  Mills. Extinguishing, 177
+  Water Used in Boston, 79
+
+"Flats," 3
+
+Flues. Floor-beams and, 146
+
+Floor. Beams and Flues, 146
+  "    The Schneider Fireproof, 158
+
+Font in St. Peter Mancroft, 62
+
+Forth Bridge Issue of "_Engineering_," 177
+  "     "    Testing the, 160
+
+Fortifications. Ancient Egyptian, 179
+      "         Assyrian, 179
+      "         Greek, 179
+      "         Modern, 195
+      "         Roman, 180
+
+Foundation of Dry "Concrete." A, 113
+
+Foundations. A New Process of Preparing, 160
+
+France. Architectural Education in, 162
+
+Frederick the Great's Tomb, 144
+
+Freestone-Cutters. Lock-out among Boston, 161, 177
+
+Fremiet's Figure of Conde, 76
+
+French Architects. Proposed Licensing of, 162
+  "         "      The Responsibility of, 2
+
+Frost on Stone. The Action of, 98
+
+Funerary Architecture, 99, 115, 131, 147, 163
+
+
+Gallic Architecture, 52
+
+Garnier's History of Habitation, 149, 168
+
+Gates for Cologne Cathedral. Bronze, 135
+
+Geneva. The Brunswick Monument at, 16
+
+German Building Contracts, 82
+   "   Construction, 155
+
+Glass. The Duty on Window, 31
+   "   The Salviati Murano, 207
+   "   Lined Tubes for Underground Wires, 160
+
+Grant Monument Competition. The, 145
+
+Gravity Transit, 178
+
+Great Wall of China. The, 19
+
+Greek Architecture, 35
+  "   Fortifications, 179
+  "   Mouldings, 139
+  "   Tombs, 131
+
+"Gods," Mexico. "The City of the," 172
+
+Gustavus Adolphus. Statue of, 74
+
+Gutters on the Albany Capitol. Defective, 97
+
+
+Habitation. History of, 149, 168
+
+Halls. The Sizes of Some Large, 184
+
+Hand _vs._ Machine Work, 108
+
+Hawkesbury Railway Bridge. The, 106
+
+Hawthorn Tree of Cawdor. The, 110
+
+Hay Fuel, 159
+
+Heat. Loss of Power by Radiation of, 22, 157
+
+Heating by Hot-water, 33
+
+Hindoo Architecture, 19
+  "    Tombs, 148
+
+History of Habitation, 149, 168
+
+Horse in Sculpture. The, 72, 170
+
+Hot-water Heating, 33
+
+Hotel. A Paper, 160
+  "    at the Pyramids. A, 160
+
+House of St. Simon, Angouleme, 61
+
+Houses for Workingmen, 105
+
+Hungary. Railway Zones in, 178
+
+Hydraulic Power in London, 155
+    "     Pressure. Rocks Upheaved by, 26
+
+Hypogea, 115
+
+
+Ice for Domestic Use, 34
+ "  Skating-rink. An Artificial, 145
+ "  The Power of, 118
+
+Illinois Chapter A.I.A. The, 182
+
+Incomes of Architects. The, 1, 47, 127
+
+India-rubber Paving, 192
+
+Industrial Museum. The Berlin, 174
+
+Inspection of Buildings in New York, 31
+     "     "  School-houses. State, 129
+
+Insurance. A Question of, 18, 146
+    "      and Electricity, 79
+    "      and Safe Building, 49, 97
+    "      Company. Annual Report of Boston Manufacturers Mutual Fire, 177
+    "      Companies and Building Construction. The, 49, 97
+
+Interiors. Photographing, 96
+
+International Edition. Our, 17, 18, 65
+
+Iron and its Treatment for Artistic Purposes. Cast, 201
+
+
+Japanese Collections at the Boston Art Museum. The, 192
+
+Jewels in Burmese Temples, 58
+
+Jewish Architecture, 20
+
+Judean Tombs, 117
+
+
+Keely, Architect. Death of Charles, 18
+
+Kirby's Drawings. Mr. H. P., 107
+
+
+Labor Syndicates. Contract-taking, 194
+  "   Troubles, 130, 161, 177, 193
+
+Lamp-post Directory. A, 98
+
+Land Values in Milwaukee, 160
+
+"Lantern of the Dead." The, 164
+
+Laths. A Corner in, 192
+
+Lead-pencils, 178
+
+League Exhibition. The Architectural, 40, 57, 143
+
+Leclere Prize. The Achille, 50
+
+LEGAL:--
+  Alterations and Old Material, 109
+  Boston Building Laws. The, 109
+  Commission on a Standing Party-wall, 142
+  Compensation for Designs, 31
+  Competitor's Suit against a Building-committee. A, 104
+  Contracts. Importance of Written, 65
+  Dismissal. Right of, 158
+  Libel Suit between Architects. A, 206
+  Lien Law. The New Rhode Island, 113
+  Owner's Right to Build. An, 97
+  Responsibility of Architects. The, 2, 130
+  Suit against a Railroad. An Architect's, 194
+  "Trolley" System. Decision against the, 128
+  Understanding between Architect and Client, 159
+  Van Beers Suits. The, 80
+
+Leighton on a Device of Spanish Architecture. Sir Frederick, 146
+
+LETTERS FROM:--
+  Australia, 106, 183
+  Boston, 190
+  Canada, 41, 104, 182
+  Chicago, 118, 182
+  London, 42, 104
+  New York, 108
+  Paris, 21, 105, 185
+  Philadelphia, 197
+  Washington, 43, 186
+
+Libel-suit between Architects. A, 206
+
+Licensing of Architects. The, 162
+
+Lien Law. The New Rhode Island, 113
+
+Light-house at Houstholm. The, 88
+
+Lighting Effects. Picturesque Interior, 146
+
+Lime in Architect's Specifications, 161
+
+Lock-out among Boston Freestone-Cutters, 161, 177
+
+Locomotive. A New Style of, 82
+
+Locrian Town. The Site of a, 16
+
+LONDON:--
+  British Museum. Electric-light at the, 104
+  County Council. The, 104
+  Houses for Workingmen, 105
+  Hydraulic Power. The Distribution of, 155
+  Letters from, 42, 104
+  National Portrait Gallery. The New, 208
+  Prize-men of the R.I.B.A., 104
+  St. Saviour's, Southwark, 43
+  Subways for. Proposed, 43
+  Tower Bridge. The, 192
+  Waterhouse's Annual Address before the R.I.B.A. Mr., 42
+  Watkin Tower. The, 16, 105
+
+Lottery. Church Restoring by, 128
+
+Louis XIV. Equestrian Statues of, 170
+
+Lowell City-hall Contracts. The, 194
+
+
+Machine-work. Hand _vs._, 103
+
+Magnesia Coverings for Steam-pipes, 23, 157
+
+Manual Training-school Pupils, 96
+
+Marble and Freestone Cutters, 161
+   "   Beryt or Fluid, 160
+
+Marcus Curtius. Statue of, 172
+
+Massachusetts. State Inspection of School-houses in, 129
+
+Master-builders' Attempt to Discipline Architects. The
+    Philadelphia, 161
+
+Mausoleums, 133
+
+Maximilian at Innsbruck. Tomb of, 61
+
+Maximilian I. Statue of, 76
+
+Maya. Temples of Ancient, 204
+
+McAlpine, Civil Engineer. Death of, W. J., 129
+
+McArthur, Jr., Architect. Death of John, 33
+   "       "   The Late John, 48
+
+Mediaeval Architecture, 52, 67
+    "    Cemeteries, 164
+    "    Tombs, 163
+
+Mesopotamia. Explorations in, 160
+
+Metal. A new Composite, 93
+
+Mexican Congressional Palace. The Proposed, 96
+   "    Pyramids, 172
+
+Mexico. A Titian "Entombment" in, 60
+  "     "The City of the Gods," 172
+
+Milan Cathedral. The Completion of, 130
+
+Military Architecture, 179, 195
+
+Mill-construction. Improvements in, 177
+
+Millet's "Angelus," 12
+
+Milwaukee. Land Values in, 160
+
+Missouri State Association of Architects, 46
+
+Modern Fortifications, 195
+  "    Tombs, 166
+
+Monolithic Church of St. Emilion, 16
+
+Mons. The Cathedral of, 114
+
+Monument to the Emperor William. National, 32
+   "     "  Prison-ship Martyrs, 128
+
+Monuments. Equestrian, 72, 170
+    "      Funerary, 99, 115, 131, 147, 163
+    "      New York, 151
+
+Mosaic. The Salviati, 208
+
+Mouldings. Greek, 139
+
+Mud-docks at Vizagapatam, 63
+
+Mummy Cats. Egyptian, 208
+
+Munich. The Royal Polytechnicum at, 181
+
+Museum of Fine Arts, Boston. The, 175, 190
+  "    The Cost of a small, 23
+
+Mussulman Architecture, 52
+
+
+Naples. Heavy Rains at, 95
+
+National Portrait Gallery, London. The New, 208
+
+Natural-gas Supply. The, 32
+
+Neutral Axis. To Find the, 111
+
+New South Wales Institute of Architects. Quarrel in the, 183
+
+NEW YORK:--
+  Architectural League Exhibition, 40, 57, 143
+  Architecture. Color in, 108
+  Barye Exhibition. The, 10
+  City-hall Park. The, 138
+  East River Tunnel. The, 178
+  Episcopal Cathedral Competition. The, 40, 62
+  Inspection of Buildings in, 31
+  Letters from, 108
+  Monuments, 151
+  Obelisk. The Protection of the, 178, 207
+  Paintings at the Barye Exhibition, 11
+  Tenement-houses, 89, 119
+
+Newark Architectural Sketch-Club, 30
+
+Northwestern University. The Buildings of the, 118
+
+Nun. A Written Contract Necessary even when Dealing with a, 65
+
+
+Oak-trees built into Chimney-walls, 146
+    "     Warfare on, 10
+
+Obelisk. Protection of the New York, 198, 207
+
+OBITUARY:--
+  Andre. Jules, Architect, 145
+  Brentano. Signor, Architect, 130
+  Clark. George, Architect, 63
+  Durand. George F., Architect, 1
+  Keely. Charles, Architect, 18
+  McAlpine. W. J., Civil Engineer, 129
+  McArthur, Jr. John, Architect, 33
+  Oudinot. Eugene, Glass-stainer, 81
+  Roberts. E. L., Architect, 177
+  Sidel. Edouard, Architect, 113
+  Wells. Joseph M., Architect, 95
+
+Office. A Chicago Architect's, 50
+
+Ontario Association of Architects, 41
+
+Open-fireplace Throat. The, 159
+
+Oriental Textiles at Berlin, 175
+   "     Tombs, 148
+
+Oudinot, Glass-stainer. Death of Eugene, 81
+
+Owner's Right to Build. An, 97
+
+
+Paint for Underground Work. A Cheap, 146
+
+Painting on Cemented Surfaces, 146
+
+Paintings at the Barye Exhibition, 11
+   "      "   "  Boston Art Museum, 191
+
+Palace of San Giorgio, Genoa, 64
+
+Paper Hotel. A, 160
+
+Paraffine Process used on the Egyptian Obelisk. The, 178, 207
+
+PARIS:--
+  Bourse du Commerce. The New, 185
+  Bull-fights in, 130
+  Bull-ring Proposed for. A, 50
+  Halle au Ble. The, 185
+  Lamp-post Directory. A, 98
+  Letters from, 21, 105, 185
+  Model School-house. A, 82
+  Peabody Homes in, 56
+  Plasterers, 94
+  _Salons_. The Proposed two, 80
+  Skating-rink. An Artificial Ice, 145
+
+PARIS EXPOSITION:--
+  Algerian Pavilion at the, 105
+  Buildings of the, 21, 105
+  Cairo Street at the, 105
+  Cochin-Chinese Pavilion at the, 106
+  Colonial Sections at the, 105
+  Double Statue at the, 32
+  Forestry Pavilion at the, 105
+  History of Habitation at the, 149, 168
+  Indian Pavilion at the, 105
+  Palaces of Liberal and Fine Arts, 21
+  Pavilions at the. The City of Paris, 21
+  Portuguese Pavilion at the, 105
+  Sanitary Exhibits at the, 21
+  Spanish Pavilion at the, 105
+  Tunisian Pavilion at the, 106
+  Views of Old Paris at the, 21
+
+Pavement. India-rubber, 192
+
+Pavements. Cast-iron, 192
+
+Paving. Asphalt, 82
+
+Peabody Homes in Paris, 56
+
+Pencils. Lead, 178
+
+Persian Court Art, 16
+   "    Tombs, 117
+
+PHILADELPHIA:--
+  Architectural Exhibition at the Art Club, 146
+       "            "      at the Penn. Academy, 107
+  Chapter, A.I.A., 46
+  Letters from, 107
+  Master-builders' Attempt to Discipline Architects. The, 161
+  T-Square Club, 206
+
+Phoenician Architecture, 20
+    "      Tombs, 117
+
+Photographing Interiors, 96
+
+Pirating Sculpture, 160
+
+Planning of School-buildings. The, 81
+
+Plaster-of-Paris and Marshmallow, 48
+
+Plasterers. Paris, 94
+
+Plate-glass. Protecting, 8
+     "       Works Convention. The, 176
+
+Pneumatic Street Railroad. A, 95
+
+Polytechnicum at Munich. The Royal, 181
+
+Polytechnique. The Zurich, 154
+
+Power in London. Hydraulic, 155
+  "    Lost by Radiation of Heat, 22, 156
+
+Prehistoric Ruins of Yucatan. The, 58
+
+Prints. Arranging Architectural, 207
+
+Prison-ship Martyrs' Monument. The, 128
+
+Prize-winners. The R.I.B.A., 104
+
+Profit-sharing. A Contractor's, 2, 43
+
+Protecting Building Stone, 98
+
+Public Buildings in Canada. Proposed, 104
+
+Pueblo Indians and the Works of the Rio Grande Irrigation Co. The, 63
+
+Pyramids, 100
+   "      A Hotel at the, 160
+   "      Mexican, 172
+
+
+Quebec City-hall Competition. The, 63
+
+Queen of Greece and an Electric-wire. The, 128
+
+
+Radiation of Heat. Loss of Power by, 22, 156
+
+Railroad. A Pneumatic Street, 95
+    "     An Architect's Suit against a, 194
+
+Railway Bridge. The Hawkesbury, 106
+   "    Zones in Hungary, 178
+
+Railways. Electric, 64, 111, 128
+
+Rains at Naples. Heavy, 95
+
+Rantzau. Statuette of Marshal, 76
+
+Rapid Transit for Chicago, 182
+
+Ravenna. The Early Christian Tombs at, 147
+
+Reading-light for Railways. Electric, 50
+
+Registration of Architects in Canada. The, 183
+
+Renaissance Architecture, 69
+     "      Tombs, 165
+
+Report of Boston Manufacturers Mutual Fire Insurance Company. Annual, 177
+  "    The Bureau of Ethnology's Fifth Annual, 151
+
+Reputation of Architects. The Influence of Architectural Journals on
+    the, 17
+
+Residence in Various Countries. Concentrated, 88, 119
+
+Responsibility of Architects. The, 2, 130
+
+Revising Bids. The Right of, 194
+
+Rhode Island Lien Law. The New, 113
+
+Richardson, H. H., 145
+
+Rio Janeiro. The Sewage of, 156
+
+Roberts, Architect. Death of E. L., 177
+
+Rock. The Dighton, 93
+
+Rocks Upheaved by Hydraulic Pressure, 26
+
+Roman Architecture, 36, 51
+  "   Catholic Buildings in Australia, 107
+  "   Fortifications, 180
+  "   Tombs, 133
+
+Romanesque Tombs, 163
+
+ROME:--
+  Castle of St. Angelo. The, 208
+  Vandalism in, 79
+  Vatican Museum. The, 208
+  Viaduct in. Discovery of an Ancient, 80
+
+Rotting. To Prevent Wood from, 146
+
+Royal Institute of British Architects. Prize-winners, 104
+
+Ruskin and His Work. John, 49
+
+
+Safe Building, 121, 135, 197
+
+St. Alban's Abbey. The Restoration of, 42
+ "  Angelo, Rome. The Castle of, 208
+ "  Clair River Tunnel. The, 128
+ "  Emilion. The Monolithic Church of, 16
+ "  Louis Academy of Music. Fall of, 66
+ "    "   Chapter, A.I.A., 206
+ "  Regulus Church. St. Andrews, 45
+ "  Salvator's Church, St. Andrews, 46
+ "  Saviour's, Southwark. The Restoration of, 43
+ "  Sebald. Restoring the Church of, 128
+
+_Salons_. The Proposed Two, 80
+
+Salviati. Death of Dr., 208
+
+Sandstone. The Structure of, 9
+
+Sandy Foundations, 160
+
+SANITARY:--
+  Concentrated Residence in Various Countries, 88, 119
+  Dessication of the Dead, 25
+  Entombment, 24
+  Exhibits at the Paris Exposition, 21
+  Inspection of New York Buildings, 31
+  Sewage of Rio Janeiro. The, 156
+  Tenement-houses, 88, 119
+  Ventilation of School-buildings, 82, 129
+
+Sarcophagi, 163
+
+Scaffold Accidents, 104
+
+Scandinavian Art, 37, 53, 63
+
+Schliemann _vs._ Dr. Botticher. Dr., 144
+
+Schmiedbarenguss, 93
+
+Schneider Fireproof Floor. The, 158
+
+Scholar. Our Travelling. 153, 181
+
+School-buildings. The Planning of, 81
+  "    House at Evanston, Ill. A, 118
+  "      "   The Model, 82
+  "    Houses. Books on, 207
+  "      "     The Ventilation of 82, 129
+
+Sculpture and Architecture, 7
+    "     Pirating, 160
+    "     The Horse in, 72, 170
+
+Sewage of Rio Janeiro. The, 156
+
+Sgraffito-work, 154
+
+Shades and Shadows. Architectural, 56
+
+Sidel, Architect. Death of Edouard, 113
+
+Skating-rink in Paris. An Artificial-Ice, 145
+
+Slater Memorial Museum. The, 23
+
+Slow-burning Construction, 29, 97
+
+Soldiers' Home at Washington. The, 143
+
+South America. Architects in, 18
+
+Spanish Architecture. A Device of, 146
+
+Specifications Should be _Specific_. Good, 161
+
+"Spectator" on the Underwriters' Interest in Building. The, 49
+
+Spires, Towers and Domes, 91, 101
+
+Sprinklers in Mills. Automatic, 177
+
+Stand-pipes and the Underwriters, 49
+
+State Architect. The New York, 206
+
+Statue Giving a Double Image, 32
+  "    of the Emperor Frederick. A, 208
+
+Steam-pipes and Woodwork, 48
+     "      Coverings for, 22, 156
+
+Steel Company's Works near Baltimore. The Pennsylvania, 188
+
+Stelae, 99, 115
+
+Stevens, Sculptor. Alfred, 201, 203
+
+Stockholm. An American Elevator in, 111
+
+Stones. The Decay of Building, 98
+
+Straightening Walls, 22
+
+Strasbourg Cathedral, 153
+    "      University, 154
+
+Stray Thoughts for Young Architects, 90
+
+Strikes and Lockouts. Threatened, 130
+
+Styles. Changes of Architectural, 108
+
+Subterranean Tombs, 115, 147
+
+Suburban Building in Chicago, 132
+
+Subways in London. Proposed, 43
+
+Suspension-bridges. Chinese, 96
+
+Swedish Penalties for Bad Building, 72
+
+Syndicate. Proposed Contracting, 81
+
+Syndicates. Contract-taking Labor, 191
+
+
+Tapestries at Berlin. Exhibition of Textiles and, 174
+
+Tariff on Works of Art. The, 18
+
+Taxation of Roman Catholic Property in Montreal. The Exemption
+    from, 42
+
+Technical College. The Berlin, 140
+
+Temples of Ancient Maya, 204
+
+Tenement-houses, 88, 119
+
+Teotihuacan, Mexico, 172
+
+Testing the Forth Bridge, 160
+
+Textiles and Tapestries at Berlin. Exhibition of, 174
+
+Thirty Year's War. The, 72
+
+Thoughts for Young Architects. Stray, 90
+
+Titian "Entombment" in Mexico. A, 60
+
+Tobacco in England. The first Use of, 110
+
+Tomb. Cleopatra's, 141
+  "   Frederick the Great's, 144
+  "   of Cecilia Metella, 134
+  "   "  Maximilian at Innsbruck, 61
+
+TOMBS:--
+  Assyrian, 116
+  Egyptian, 99, 115
+  Etruscan, 131
+  Greek, 131
+  Hindoo, 148
+  Judean, 117
+  Mediaeval, 163
+  Modern, 166
+  Oriental, 148
+  Persian, 117
+  Phoenician, 117
+  Renaissance, 165
+  Roman, 133
+  Romanesque, 163
+  Subterranean, 115, 147
+
+TORONTO:--
+  Architectural Sketch-Club, 142
+  Burning of the University. The, 182
+  Proposed Improvements in, 42
+
+Tower for the Exhibition of 1892. High, 177
+  "   The Watkin, 16, 105
+
+Towers and Domes. Spires, 91, 101
+
+Towns. The Laying-out of, 184
+
+Tracy's House. The Fire in Secretary, 186
+
+Trade Surveys, 16, 32, 48, 64, 80, 96, 112, 128, 144, 160, 176,
+    192, 208
+
+Trades-unions, 193
+
+Training-school Pupils, 96
+
+Traps. Evaporation of Water in, 15
+
+Travelling-Scholar. Our, 153, 181
+
+"Trolley" System. Decision against the, 128
+
+T-Square Club, Philadelphia. The, 206
+
+Tumuli. Celtic, 99
+
+Tunnel. The East River, 178
+   "     "  St. Clair River, 128
+   "     "  Washington Aqueduct, 103
+
+
+Underground Wires. Glass-lined Tubes for, 160
+     "      Work. A Cheap Paint for, 146
+
+Understanding between Architect and Client. The, 159
+
+Underwriter's Interest in Building. The _Spectator_ on the, 49
+
+Undermining. Well-sinking by, 98
+
+University. Strasbourg, 154
+
+Uxmal, 204
+
+
+Van Beers. The Artist Jan, 80
+
+Vandalism in Rome, 79
+
+Vane in Burmah. A Jewelled, 58
+
+Vatican. Art at the, 208
+
+Ventilating Wooden Columns, 31
+
+Ventilation of School-buildings, 82, 129
+
+Verplanck Homestead. The, 26
+
+Viaduct in Rome. Discovery of an Ancient, 80
+
+Vikings. The Art of the, 37, 53
+
+
+Walking Delegate. The Power of a, 193
+
+Wall. Collapse of a Retaining, 113
+
+Walls. Straightening, 22
+
+Walnut Logs, 192
+
+Warren's Sketches at the League Exhibition. Mr., 57, 143
+
+WASHINGTON:--
+  Aqueduct Tunnel. The, 103
+  Building in. Recent and Future, 44
+  Chapter, A.I.A., 43
+  Letters from, 43, 186
+  Railroad. A Pneumatic Street, 95
+  Soldiers' Home Building. The, 143
+  Tracy's House. The Fire in Secretary, 186
+
+Water-color Drawings. Architectural, 107
+     "      Painting. Books on, 31
+
+Waterhouse's Annual Address before the R.I.B.A. Mr., 42
+
+Water-power. A Remarkable, 47
+  "   supply of London. The, 156
+  "   used in Boston Fires, 79
+
+Watkin Tower. The, 16, 105
+
+Wattle-tree. The, 10
+
+Welding. Electric, 176
+
+Well-sinking by Undermining, 98
+
+Wells, Architect. Death of Joseph M., 95
+
+White House. The _American Architect_ Travelling-scholarship Design
+    for a new, 158
+
+Whitewash. Fireproof, 208
+
+Will. The Power of the, 112
+
+William of Orange. Statue of, 74
+
+Wood from Rotting. To Prevent, 146
+
+"Working-day." A Fifteenth-century, 155
+
+Working-drawings, 63
+
+World's Fair. The Chicago, 177, 182
+
+
+Yucatan. Ancient Temples of, 204
+   "     Exploring Expedition. A New, 112
+   "     Ruins and Works of Art in, 58
+
+
+Zones in Hungary. Railway, 178
+
+
+
+
+ILLUSTRATIONS.
+
+[_The figures refer to the number of the journal, and not to the
+page._]
+
+
+DETAILS.
+
+Old Iron and Brasswork at Providence, R.I., 737
+
+Renaissance Doorways, Toulouse, France, 737
+
+
+DWELLINGS.
+
+Balveny Castle, Scotland, 735
+
+Block of Houses for E. K. Greene, Kearney, Neb. Frank, Bailey &
+    Farmer, Architects, 741
+
+Cottage at Tuxedo, N.Y. Renwick, Aspinwall & Russell, Architects, 744
+   "    for Dr. T. H. Willard, Jr., Greenville, N.Y. Adolph Haak,
+            Architect, 737
+
+House at Malden, Mass. Chamberlin & Whidden, Architects, 738
+  "   "  Rochester, N.Y. W. C. Walker, Architect, 736
+
+HOUSE OF:--
+  J. R. Burnett, Orange, N.J.  F. W. Beall, Architect, 743
+  C. H. Elmendorff, Kearney, Neb. Frank, Bailey & Farmer, Architects, 737
+  C. De Lacey Evan, Ruxton, Md. E. G. W. Dietrich, Architect, 734
+  Geo. W. Frank, Kearney, Neb. Frank, Bailey & Farmer, Architects, 743
+  Capt. Jesse H. Freeman, Brookline, Mass. W. A. Rodman, Architect, 738
+  Prof. C. E. Hart, New Brunswick, N.J. H. R. Marshall, Archt., 736
+  J. H. Howe, Rochester, N.Y. Nolan Bros., Architects, 736
+  Julius Howells, Chicago, Ill. Wm. H. Pfau, Architect, 740
+  A. H. Stem, Minnetonka Beach, Minn. A. H. Stem, Architect, 741
+  W. S. Wells, Newport, R.I. G. E. Harding & Co., Architects, 736
+  Albert Will, Rochester, N.Y. Otto Block, Architect, 735
+
+Houses for Potter Palmer, Chicago, Ill. C. M. Palmer, Architect, 735
+   "    "  Dr. A. Wharton, St. Paul, Minn. A. H. Stem, Architect, 739
+
+Netley Corners, Minneapolis, Minn. J. C. Plant, Architect, 744
+
+Premises of G. G. Booth, Detroit, Mich. Mason & Rice, Architects, 740
+
+Suggestion for the Executive Mansion by Theodore F. Laist. Successful
+    Design for the American Architect Travelling-Scholarship.
+
+Workman's Dwelling-house on the Cohesive System, 739
+
+
+ECCLESIASTICAL.
+
+Aberbrothwick Abbey, Arbroath, Scotland, 732
+
+Baptist Church, Gardiner, Me. Stevens & Cobb, Architects, 737
+
+Cathedral of St. Machar, Aberdeen, Scotland, 733
+
+Chapel, St. Paul's School, Concord, N.H. Henry Vaughan, Architect, 742
+
+Competitive Design for First Baptist Church, Malden, Mass. Lewis &
+    Phipps, Architects, 740
+
+COMPETITIVE DESIGN FOR THE:--
+  Cathedral of St. John the Divine, New York, N.Y.
+    Glenn Brown, Architect, 732
+    Cram & Wentworth, Architects, 738 (_Imp._)
+    B. G. Goodhue, Architect, 738 (_Imp._)
+    J. R. Rhind, Architect, 743 (_Imp._)
+
+Congregational Church, Wakefield, Mass. Hartwell & Richardson,
+    Architects, 744
+
+Dalmeny Church, Linlithgow, Scotland, 743 (_Imp._)
+
+Design for Presbyterian Church, Memphis, Tenn. W. Albert Swasey,
+    Architect, 742
+
+First Baptist Church, Elmira, N.Y. Pierce & Dockstader, Architects,
+    739
+
+Memorial "Church of the Angels," Los Angeles, Cal. E. A. Coxhead,
+    Architect, 733
+
+St. Augustine Roman Catholic Church Buildings, Brooklyn, N.Y. Parfitt
+    Bros., Architects, 733
+ "  Luke's Church, Mansfield, O. W. G. Preston, Architect, 744
+ "  Regulus's Church, St. Andrews, Scotland, 734 (_Imp._)
+ "  Salvator's Church, St. Andrews, Scotland, 734 (_Imp._)
+
+Sketch for a Church. Edward Stotz, Architect, 742
+
+Throop Ave. Presbyterian Church, Brooklyn, N.Y. Fowler & Hough,
+    Architects, 742
+
+
+EDUCATIONAL.
+
+High School, Cambridge, Mass. Chamberlin & Austin, Architects, 743
+  "     "    Los Angeles, Cal. J. N. Preston & Son, Architects, 738
+
+School-house, Lewiston, Me. Geo. F. Coombs, Architect, 735
+
+University, Strasbourg, Germany. Prof. Worth, Architect, 741
+
+
+FOREIGN.
+
+Aberbrothwick Abbey, Arbroath, Scotland, 732
+
+Balveny Castle, Scotland, 735
+
+Cathedral of St. Machar, Aberdeen, Scotland, 733
+
+Central Dome of Exhibition Buildings, Paris, France, 740
+
+Dalmeny Church, Linlithgow, Scotland, 743 (_Imp._)
+
+Hall, Craigievar Castle, Aberdeen, Scotland, 743 (_Imp._)
+
+Renaissance Doorways, Toulouse, France, 737
+
+St. Regulus's Church, St. Andrews, Scotland, 734 (_Imp._)
+ "  Salvator's Church, St. Andrews, Scotland, 734 (_Imp._)
+
+Tower, St. Etienne du Mont, Paris, France, 737
+
+Town Hall, Sydney, N.S.W., 743
+
+University, Strasbourg, Germany. Prof. Worth, Architect, 741
+
+
+HOTELS.
+
+Alicia Springs Hotel, Pennfield, Pa. E. Culver, Architect, 738
+
+Hotel de Soto, Savannah, Ga. W. G. Preston, Architect, 733
+
+Sketch for Hotel at Norton, Va. Geo. T. Pearson, Architect, 734
+
+
+INTERIORS.
+
+Hall, Craigievar Castle, Aberdeen, Scotland, 743 (_Imp._)
+ "    in House of W. R. Ray, Los Angeles, Cal. W. Redmore Ray,
+          Architect, 740
+
+Sitting-room in House of J. H. Howe, Rochester, N.Y. Nolan Bros.,
+    Architects, 736
+
+
+MERCANTILE.
+
+Anniston City Land Co. Building, Anniston, Ala. Chisolm & Green,
+    Architects, 734
+
+Building for the Boston Real Estate Trust. Cabot, Everett & Mead,
+    Architects, 744
+
+Design for an Office-building, Boston, Mass. C. H. Blackall, Archt.,
+    734
+
+Factory Building, on the Cohesive System, 739
+
+Sketch of Store, Boston, Mass. Wait & Cutter, Architects, 732
+
+
+MISCELLANEOUS.
+
+Alcove Sleeping-car, 742
+
+Heads of Mexican Gods, 742
+
+Vault, Greenwood Cemetery, Brooklyn, N.Y. Renwick, Aspinwall &
+    Russell, Architects, 744
+
+
+PUBLIC.
+
+Central Dome of Exhibition Buildings, Paris, France, 740
+
+Town-hall, East Providence, R.I. W. K. Walker & Son, Architects, 738
+    "      Sydney, N.S.W., 743
+
+
+RAILROAD.
+
+Competitive Designs for Railroad-stations, by the Rochester
+    Architectural Sketch Club, 738
+
+
+STABLES.
+
+Sketch of Stable, Paterson, N.J. C. Edwards, Architect, 735
+
+
+TOWERS AND SPIRES.
+
+Tower, St. Etienne du Mont, Paris, France, 737
+  "    Sketched from the Competitive Design of C. B. Atwood, Architect,
+           for the New City-hall, New York, N.Y., 736
+
+Town Clock-tower. Designed by Willis Polk, Architect, 736
+
+
+BARONIAL AND ECCLESIASTICAL ANTIQUITIES OF SCOTLAND.
+
+Aberbrothwick Abbey, 732
+
+Balveny Castle, 735
+
+Castle Campbell, 739 (_Int._)
+
+Cawdor Castle, 738 (_Int._)
+
+Craigievar Castle, 743 (_Imp._)
+
+Dalmeny Church, 743 (_Imp._)
+
+St. Machar's Cathedral, 733
+ "  Regulus's Church, 734 (_Imp._)
+ "  Salvator's Church, 734 (_Imp._)
+
+
+ROTCH SCHOLARSHIP DRAWINGS.
+
+[_Published only in the Imperial and International Editions._]
+
+Angers Cathedral, 734 (_Imp._)
+
+Catania, 734 (_Imp._)
+
+Notre Dame, Poitiers, 734 (_Imp._)
+
+Pierrefonds, 734 (_Imp._)
+
+St. Ours, Loches, 731 (_Imp._)
+
+
+
+
+ILLUSTRATIONS.--INTERNATIONAL EDITION.
+
+[_The figures refer to the number of the journal and not to the
+page._]
+
+
+COLORED PRINTS.
+
+[_Published only in the Imperial and International Editions._]
+
+Detail of Entrance, Osborn Hall, New Haven, Conn. Bruce Price,
+    Architect, 744 (_Imp._)
+
+House of W. A. Burnham, Boston, Mass. E. C. Curtis, Archt., 739
+    (_Imp._)
+
+Ruined Chapel of Charles V, Yuste, Spain, 732
+
+Street View in Dinan, France, 736
+
+Torre del Vino, Alhambra, Granada, Spain, 732
+
+U.S. Trust Co.'s Building, New York, N.Y. R. W. Gibson, Architect, 734
+    (_Imp._)
+
+
+DETAILS.
+
+Capitals from Chamber of Commerce, Cincinnati, O. H. H. Richardson and
+    Shepley, Rutan & Coolidge, _Successors_, Architects, 740 (_Gel._)
+
+Detail of Entrance, Osborn Hall, New Haven, Conn. Bruce Price,
+    Architect, 744 (_Gel._)
+
+Entrance, Holcombe, Chatham, Eng. John Belcher, Architect, 739
+
+Font and Canopy, St. Peter, Mancroft, Norwich, Eng. Frank T.
+    Baggallay, Architect, 735
+
+House-gable on Taubenstrasse, Berlin, Germany. Herr Holst, Architect,
+    742 (_Gel._)
+
+Piers of the Cathedral Portico, Lucca, Italy, 739 (_Gel._)
+
+Porte Cochere, Paris, France, 744 (_Gel._)
+
+Portico, Ecole de Medicine, Paris, France, 741 (_Gel._)
+
+Window in Grisaille Glass. W. R. Lethaby, Designer, 740
+
+Wrought-iron Gates, Chelmsford, Eng., 732
+
+
+DWELLINGS.
+
+A Country House. Horace R. Appelbee, Architect, 732
+
+Black Knoll, Brockenhurst, Eng. R. T. Blomfield, Architect, 742
+
+Butler's Wood, Chislehurst, Eng. Ernest Newton, Architect, 733
+
+Castle Campbell, Clackmannan, Scotland, 739
+
+Cawdor Castle, Nairn, Scotland, 738
+
+Chateau de Josselin, Morbihan, France, 733 (_Gel._)
+
+Coombe Warren, Kingston, England. George Devey, Architect, 732, 734
+
+Folkton Manor House, Eng. E. J. May, Architect, 743
+
+Hall Place, Tonbridge, Eng. George Devey, Architect, 741
+
+Holcombe, Chatham, Eng. John Belcher, Architect, 735, 738
+
+House at Exeter, Eng. James Crocker, Architect, 733
+  "   "  Goring-on-Thames, Eng. Geo. W. Webb, Architect, 740
+  "   "  Tunbridge Wells, Eng. George Devey, Architect, 741
+
+House-gable on Taubenstrasse, Berlin, Germany. Herr Holst, Archt., 742
+    (_Gel._)
+
+House, James St., Buckingham Gate, London, Eng. R. T. Blomfield,
+           Architect, 742
+  "    near Birmingham, Eng. Essex & Nicol, Architects, 743
+
+HOUSE OF:--
+  J. Benic, Karlstadt, Austria. Hans Pruckner, Architect, 743 (_Gel._)
+  Mrs. Charles Blake, Boston, Mass. Sturgis & Cabot, Archts., 732
+      (_Gel._)
+  Charles F. Brush, Cleveland, O. George H. Smith, Archt., 742 (_Gel._)
+  W. A. Burnham, Boston, Mass. E. C. Curtis, Architect, 739 (_Gel._)
+  Mrs. Consino, Santiago, Chili, 733, 734
+  Senor Cuda, Santiago, Chili, 740 (_Gel._)
+  Mrs. S. T. Everett, Cleveland, O. C. F. & J. A. Schweinfurth,
+      Architects,  735 (_Gel._)
+  Herr Hatner, Buda-Pesth, Austria. Alfred Wellisch, Archt., 744 (_Gel._)
+  Mrs. T. T. Haydock, Cincinnati, O. J. W. McLaughlin, Archt., 743
+      (_Gel._)
+  Edwin Long, R.A., Hampstead, Eng. R. Norman Shaw, Architect, 744
+  Mr. McKenna, Santiago, Chili, 740 (_Gel._)
+  E. D. Pearce, Providence, R.I. Rotch & Tilden, Architects, 740
+  G. M. Smith, Providence, R.I. Stone, Carpenter & Willson, Architects,
+      733 (_Gel._)
+  St. Simon, Angouleme, France, 735
+
+House on the Rauchstrasse, Berlin, Germany. Kaiser & Grossheim,
+                 Archts., 741 (_Gel._)
+  "   "   "  Yorkstrasse, Berlin, Germany. Herr Rintz, Architect, 744
+                 (_Gel._)
+
+Mill Pond Farm, Cranbrook, Eng. M. E. Macartney, Architect, 743
+
+Official Residence of the Intendente, Santiago, Chili, 734
+
+Palace of Count Pallavicini, Vienna, Austria. Herr Von Hohenberg,
+    Architect, 743 (_Gel._)
+
+Residence of the Former Viceroy of the Province, Santiago, Chili, 738
+    (_Gel._)
+
+Semi-detached Houses, Ripon, Eng. T. Butler Wilson, Architect, 740
+
+The Gables, Felixstowe, Eng. William A. Thorp, Architect, 740
+
+Vicarage, Tweedmouth, Eng. F. R. Wilson, Architect, 744
+
+Villa Blanca, near Innsbruck, Austria. J. W. Deininger, Archt., 740
+    (_Gel._)
+
+
+ECCLESIASTICAL.
+
+All Saints' Church, Leek, Eng. R. Norman Shaw, Architect, 735
+ "     "       "    London, Eng. Christopher & White, Architects, 743
+
+Cathedral, Quimper, France, 742 (_Gel._)
+
+Chapel of St. Mary of Nazareth, Edgware, Eng. James Brooks, Architect,
+    736
+
+Church of All Saints, Falmouth, Eng. J. D. Sedding, Archt., 737
+   "   "  St. John the Baptist, Reading, Eng. E. Prioleau Warren,
+              Architect, 737
+   "   "   "  Martin, Seamer, Eng. C. Hodgson Fowler, Architect, 742
+
+Cloister, Poblet, Spain, 737 (_Gel._)
+
+COMPETITIVE DESIGN FOR THE:--
+  Cathedral of St. John the Divine, New York, N.Y.
+  Edward C. Casey, Architect, 736
+  Stephen C. Earle, Architect, 736
+  John L. Faxon, Architect, 736
+
+Design for a Village Church. Gerald C. Horsley, Architect, 740
+  "     "  Church of the Good Shepherd, London, Eng. T. Phillips Figgis,
+               Archt., 733
+
+Episcopal Church, West Medford, Mass. H. H. Richardson, Archt., 737
+    (_Gel._)
+
+Font and Canopy, St. Peter Mancroft, Norwich, Eng. Frank T. Baggallay,
+    Architect, 735
+
+Interior of St. Paul Extra Muros, Rome, Italy, 734 (_Gel._)
+    "    "  the Cathedral, Albi, France, 734 (_Gel._)
+    "    "   "  Hofkirche with Tomb of Maximilian I, Innsbruck, Austria,
+                    735 (_Gel._)
+    "    "   "  Recoletu Church, Santiago, Chili, 735 (_Gel._)
+
+Parish Room and School, Charleton, Devon, Eng. F. J. Commin,
+    Architect, 739
+
+Ruined Chapel of Charles V, Yuste, Spain, 732
+
+Wesleyan Chapel, Leeds, Eng. T. Butler Wilson, Architect, 734
+
+
+EDUCATIONAL.
+
+Board School, Bromley, Kent, Eng. Vacher & Hellicar, Architects, 739
+
+COMPETITIVE DESIGN FOR:--
+  Gymnasium for Brown University, Providence, R.I.
+    Gould & Angell, Architects, 741
+    Stone, Carpenter & Willson, Architects, 741
+
+Design for a Board School. Geo. W. Webb, Architect, 733
+
+Old Facade, Ecole de Medecine, Paris, France, 741 (_Gel._)
+
+Osborn Hall, New Haven, Conn. Bruce Price, Architect, 741 (_Gel._)
+
+Parish Room and School, Charleton, Devon, Eng. F. J. Commin,
+    Architect, 739
+
+Swimming-bath and Gymnasium, Grocers' Company's Schools, Hackney
+    Downs, Eng. Henry C. Boyes, Architect, 736
+
+
+FOREIGN.
+
+All Saints' Church, Leek, Eng. R. Norman Shaw, Architect, 735
+ "    "       "     London, Eng. Christopher & White, Archts., 743
+
+Arch of Septimus Severus, Rome, Italy, 734
+
+Auditorium of the Palace of the Trocadero, Paris, France, 732 (_Gel._)
+
+"Bargello," Florence, Italy. The, 734
+
+Black Knoll, Brockenhurst, Eng. R. T. Blomfield, Architect, 742
+
+Board School, Bromley, Kent, Eng. Vacher & Hellicar, Architects, 739
+
+Business Premises, London, Eng. Frederick Wallen, Architect. 738
+
+Butler's Wood, Chislehurst, Eng. Ernest Newton, Architect, 733
+
+"Ca' d'Oro," Venice, Italy. The, 734
+
+Castle Campbell, Clackmannan, Scotland, 739
+
+Cathedral, Quimper, France, 742 (_Gel._)
+
+Cawdor Castle, Nairn, Scotland, 738
+
+Chapel of St. Mary of Nazareth, Edgware, Eng. James Brooks, Architect,
+    736
+
+Chateau de Josselin, Morbihan, France, 733 (_Gel._)
+
+Church of All Saints, Falmouth, Eng. J. D. Sedding, Archt., 737
+  "    "  St. John the Baptist, Reading, Eng. E. Prioleau Warren,
+                  Architect, 737
+  "    "   "  Martin, Seamer, Eng. C. Hodgson Fowler, Architect, 742
+
+Clee Park Hotel, Grimsby, Eng. E. W. Farebrother, Architect, 738
+
+Cloister, Poblet, Spain, 737 (_Gel._)
+
+Congress Hall and Chamber of Deputies, Santiago, Chili, 738 (_Gel._)
+
+Coombe Warren, Kingston, England. George Devey, Architect, 732
+
+Corridor in House of Edwin Long, R.A., Hampstead, Eng. R. Norman Shaw,
+    Architect, 744
+
+Design for Church of the Good Shepherd, London, Eng. T. Phillips
+    Figgis, Architect, 733
+
+Dining-room, Coombe Warren, Kingston, Eng. George Devey, Archt., 734
+
+Drawing-room, Holcombe, Chatham, Eng. John Belcher, Architect, 736
+
+Entrance, Holcombe, Chatham, Eng. John Belcher, Architect, 739
+
+Folkton Manor House, Eng. E. J. May, Architect, 743
+
+Font and Canopy, St. Peter Mancroft, Norwich, Eng. Frank T. Baggallay,
+    Architect, 735
+
+Frome Union Offices, Frome, Eng. Drake & Bryan, Architects, 744
+
+Grand Hotel, Vienna, Austria. Carl Tietz, Architect, 741 (_Gel._)
+
+Hall, Castle Campbell, Clackmannan, Scotland. The, 739
+  "   Coombe House, near Shaftesbury, Eng. E. Towry White, Architect, 736
+  "   Holcombe, Chatham, Eng. The, 738
+
+Hill Place, Tonbridge, Eng. George Devey, Architect, 741
+
+Holcombe, Chatham, England. John Belcher, Architect, 733, 736
+
+House at Exeter, Eng. James Crocker, Architect, 733
+  "   "  Goring-on-Thames, Eng. Geo. W. Webb, Architect, 740
+  "   "  Tunbridge Wells, England. George Devey, Archt., 741
+
+House-gable on Taubenstrasse, Berlin, Germany, 742 (_Gel._)
+
+House, James St., Buckingham Gate, London, Eng. R. T. Blomfield,
+           Architect, 742
+  "    near Birmingham, Eng. Essex & Nicol, Architects, 743
+
+HOUSE OF:--
+  J. Benic, Karlstadt, Austria. Hans Pruckner, Architect, 743 (_Gel._)
+  Mrs. Consino, Santiago, Chili, 733, 734
+  Senor Cuda, Santiago, Chili, 740 (_Gel._)
+  Herr Hatner, Buda-Pesth, Austria. Alfred Wellisch, Archt., 744 (_Gel._)
+  Edwin Long, R.A., Hampstead, Eng. R. Norman Shaw, Archt., 744
+  Mr. McKenna, Santiago, Chili, 740 (_Gel._)
+  St. Simon, Angouleme, France, 735
+
+House on the Rauchstrasse, Berlin, Germany. Kaiser & Grossheim,
+                 Archts., 741 (_Gel._)
+  "   "   "  Yorkstrasse, Berlin, Germany. Herr Rintz, Architect, 744
+                 (_Gel._)
+
+Interior in the Chateau de Josselin, Morbihan, France, 732, 733
+             (_Gel._)
+   "     of St. Paul Extra Muros, Rome, Italy, 734 (_Gel._)
+   "     "  the Cathedral, Albi, France, 734 (_Gel._)
+   "     "   "  Hofkirche, with Tomb of Maximilian I, Innsbruck, Austria,
+                    735 (_Gel._)
+   "     "   "  Recoletu Church, Santiago, Chili, 735 (_Gel._)
+
+Italian Sketches, 734
+
+Kitchen, Castello di Vincigliata, Italy. G. Fancelli, Architect, 735
+
+"Lloyds," Trieste, Austria. Baron Heinrich von Ferstel, Architect, 740
+    (_Gel._)
+
+Mill Pond Farm, Cranbrook, Eng. M. E. Macartney, Architect, 743
+
+New Bourse du Commerce, Paris, France. H. Blondel, Architect, 735
+ "  Premises, Chester, Eng. T. M. Lockwood, Architect, 737
+
+Official Residence of the Intendente, Santiago, Chili, 734
+
+Old Facade, Ecole de Medecine, Paris, France, 741 (_Gel._)
+
+Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne,
+    Paris, France, 743 (_Gel._)
+
+Palace of Count Pallavicini, Vienna, Austria. Herr Von Hohenberg,
+              Architect, 743 (_Gel._)
+  "    "  the Liberal Arts, Paris, France. J. C. Formige, Architect, 735
+
+Parish Room and School, Charleton, Devon, Eng. F. J. Commin,
+    Architect, 739
+
+Piers of the Cathedral Portico, Lucca, Italy, 739 (_Gel._)
+
+Porte Cochere, Paris, France, 744 (_Gel._)
+
+Portico, Ecole de Medecine, Paris, France, 741 (_Gel._)
+
+Railway Tavern, Grimsby, Eng. E. W. Farebrother, Architect, 738
+
+Residence of the Former Viceroy of the Province, Santiago, Chili, 738
+    (_Gel._)
+
+Ruined Chapel of Charles V, Yuste, Spain, 732
+
+Savings Bank, Linz, Austria. Austrian Building Co., Architects, 742
+    (_Gel._)
+
+Semi-detached Houses, Ripon, Eng. T. Butler Wilson, Architect, 740
+
+Stables, Holcombe, Chatham, Eng. John Belcher, Architect, 739
+
+Street View in Dinan, France, 736
+  "     "   "  Santiago, Chili, 736 (_Gel._)
+
+Swimming-bath and Gymnasium, Grocers' Company's Schools, Hackney
+    Downs, Eng. Henry C. Boyes, Architect, 736
+
+Temples of Faustina and Romulus, Rome, Italy, 734
+
+The Gables, Felixstowe, Eng. William A. Thorp, Architect, 740
+
+Torre del Vino, Alhambra, Granada, Spain, 732
+
+Vicarage, Tweedmouth, Eng. F. R. Wilson, Architect, 744
+
+Villa Blanca, near Innsbruck, Austria. J. W. Deininger, Architect, 740
+    (_Gel._)
+
+Warehouse, Stockholm, Sweden. A. Egendomen, Architect, 735
+
+Wesleyan Chapel, Leeds, Eng. T. Butler Wilson, Architect, 734
+
+Wrought-iron Gates, Chelmsford, Eng., 732
+
+
+GELATINE.
+
+[_Published only in the Imperial and International Editions._]
+
+Auditorium of the Palace of the Trocadero, Paris, France, 732
+
+Capitals from Chamber of Commerce, Cincinnati, O. H. H. Richardson and
+    Shepley, Rutan & Coolidge _Successors_, Architects, 740 (_Imp._)
+
+Cathedral, Quimper, France, 742
+
+Chateau de Josselin, Morbihan, France, 733
+
+Cloister, Poblet, Spain, 737
+
+Congress Hall and Chamber of Deputies, Santiago, Chili, 738
+
+Detail of Entrance, Osborn Hall, New Haven, Conn. Bruce Price,
+    Architect, 744 (_Imp._)
+
+Entrance Hall in House of Prof. C. E. Hart, New Brunswick, N.J. H. R.
+    Marshall, Architect, 736, (_Imp._)
+
+Episcopal Church, West Medford, Mass. H. H. Richardson, Archt., 737
+    (_Imp._)
+
+Grand Hotel, Vienna, Austria. Carl Tietz, Architect, 741
+
+House-gable on Taubenstrasse, Berlin, Germany. Herr Holst, Archt., 742
+
+HOUSE OF:--
+  J. Benic, Karlstadt, Austria. Hans Pruckner, Architect, 743
+  Mrs. Charles Blake, Boston, Mass. Sturgis & Cabot, Archts., 732
+      (_Imp._)
+  Charles F. Brush, Cleveland, O. George H. Smith, Archt., 742 (_Imp._)
+  Senor Cuda, Santiago, Chili, 740
+  Mrs. S. T. Everett, Cleveland, O. C. F. & J. A. Schweinfurth,
+      Architects, 735 (_Imp._)
+  Herr Hatner, Buda-Pesth, Austria. Alfred Wellisch, Architect, 744
+  Mrs. T. T. Haydock, Cincinnati, O. J. W. McLaughlin, Architect, 743
+      (_Imp._)
+  Mr. McKenna, Santiago, Chili, 740
+  G. M. Smith, Providence, R.I. Stone, Carpenter & Willson, Architects,
+      733 (_Imp._)
+
+House on the Rauchstrasse, Berlin, Germany. Kaiser & Grossheim,
+    Architects, 741
+
+House on the Yorkstrasse, Berlin, Germany. Herr Rintz, Archt., 744
+
+Interior in the Chateau de Josselin, Morbihan, France, 732, 733
+   "     of St. Paul Extra Muros, Rome, Italy, 734
+   "     "  the Cathedral, Albi, France, 734
+   "     "   "  Hofkirche with Tomb of Maximilian I, Innsbruck,
+                    Austria, 735
+   "     "   "  Recoletu Church, Santiago, Chili, 735
+
+Interiors in House at Malden, Mass. Chamberlin & Whidden, Architects,
+    738 (_Imp._)
+
+"Lloyds," Trieste, Austria. Baron Heinrich von Ferstel, Architect, 740
+
+Old Facade, Ecole de Medecine, Paris, France, 741
+
+Osborn Hall, New Haven, Conn. Bruce Price, Architect, 741 (_Imp._)
+
+Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne,
+    Paris, France, 743
+
+Palace of Count Pallavicini, Vienna, Austria. Herr Von Hohenberg,
+    Architect, 743
+
+Piers of the Cathedral Portico, Lucca, Italy, 739
+
+Porte Cochere, Paris, France, 744
+
+Portico, Ecole de Medecine, Paris, France, 741
+
+Residence of the Former Viceroy of the Province, Santiago, Chili, 738
+
+Savings Bank, Linz, Austria. Austrian Building Co., Architects, 742
+
+Street View in Santiago, Chili, 736
+
+Villa Blanca, near Innsbruck, Austria. J. W. Deininger, Architect, 740
+
+
+HOTELS.
+
+Clee Park Hotel, Grimsby, Eng. E. W. Farebrother, Architect, 738
+
+Grand Hotel, Vienna, Austria. Carl Tietz, Architect, 741 (_Gel._)
+
+Railway Tavern, Grimsby, Eng. E. W. Farebrother, Architect, 738
+
+
+INTERIORS.
+
+Auditorium of the Palace of the Trocadero, Paris, France, 732 (_Gel._)
+
+Church of All Saints, Falmouth, Eng. J. D. Sedding, Archt., 737
+   "   "  St. Martin, Seamer, Eng. C. Hodgson Fowler, Architect, 742
+
+Corridor in House of Edwin Long, R.A., Hampstead, Eng. R. Norman Shaw,
+    Architect, 744
+
+Dining-room, Coombe Warren, Kingston, Eng. George Devey, Archt., 734
+
+Drawing-room, Holcombe, Chatham, Eng. John Belcher, Archt., 736
+
+Entrance Hall in House of Prof. C. E. Hart, New Brunswick, N.J. H. R.
+    Marshall, Architect, 736 (_Gel._)
+
+Hall, Castle Campbell, Clackmannan, Scotland. The, 739
+ "    Coombe House, near Shaftesbury, Eng. E. Towry White, Architect, 736
+ "    Holcombe, Chatham, Eng. John Belcher, Architect, 738
+
+Interior in the Chateau de Josselin, Morbihan, France, 732, 733
+             (_Gel._)
+    "    of All Saints' Church, Leek, Eng. R. Norman Shaw, Architect, 735
+    "    "  St. Paul Extra Muros, Rome, Italy, 734 (_Gel._)
+    "    "  the Cathedral, Albi, France, 734 (_Gel._)
+    "    "   "  Hofkirche with Tomb of Maximilian I, Innsbruck, Austria,
+                    735 (_Gel._)
+    "    "   "  Recoletu Church, Santiago, Chili, 735 (_Gel._)
+
+Interiors in House at Malden, Mass. Chamberlin & Whidden, Architects,
+    738 (_Gel._)
+
+Kitchen, Castello di Vincigliata, Italy. G. Fancelli, Architect, 735
+
+Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne,
+    Paris, France, 743 (_Gel._)
+
+Swimming-bath and Gymnasium, Grocers' Company's Schools, Hackney
+    Downs, Eng. Henry C. Boyes, Architect, 736
+
+
+MERCANTILE.
+
+Business Premises, London, England. Frederick Wallen, Architect, 738
+
+"Lloyds," Trieste, Austria. Baron Heinrich von Ferstel, Architect, 740
+    (_Gel._)
+
+New Premises, Chester, Eng. T. M. Lockwood, Architect, 737
+
+Savings Bank, Linz, Austria. Austrian Building Co., Archts., 742
+    (_Gel._)
+
+U.S. Trust Co.'s Building, New York, N.Y. R. W. Gibson, Architect, 734
+    (_Gel._)
+
+Warehouse, Stockholm, Sweden. A. Egendomen, Architect, 735
+
+
+MISCELLANEOUS.
+
+Historical Figures from the Lord Mayor's Procession, 732
+
+Italian Sketches, 734
+
+"Lion and Serpent." A. L. Barye, Sculptor, 732
+
+New Year's Day in the Olden Time, 735
+
+Norwich, from the Cromer Road, by John Sell Cotman, 742
+
+Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne,
+    Paris, France, 743 (_Gel._)
+
+Sketches in Normandy, by Herbert Railton, 739
+
+Street View in Dinan, France, 736
+  "      "  "  Santiago, Chili, 736 (_Gel._)
+
+Swimming-bath and Gymnasium, Grocers' Company's Schools, Hackney
+    Downs, Eng. Henry C. Boyes, Architect, 736
+
+Winter, from a Painting by Nicolas Lancret, 741
+
+
+MONUMENTAL.
+
+Interior of the Hofkirche with Tomb of Maximilian I, Innsbruck,
+    Austria, 735 (_Gel._)
+
+
+PUBLIC.
+
+Congress Hall and Chamber of Deputies, Santiago, Chili, 738 (_Gel._)
+
+Frome Union Offices, Frome, England. Drake & Bryan, Architects, 744
+
+New Bourse du Commerce, Paris, France. H. Blondel, Architect, 735
+
+Palace of the Liberal Arts, Paris, France. J. C. Formige, Archt., 735
+
+
+STABLES.
+
+Stables, Holcombe, Chatham, England. John Belcher, Architect, 739
+
+
+TOWERS AND SPIRES.
+
+Torre del Vino, Alhambra, Granada, Spain, 732
+
+
+
+
+TEXT CUTS.
+
+[_These figures refer to the page of text, not to the plates._]
+
+
+Arch at Naples, 77
+
+Axe-head, 89
+
+Bracteates, 53, 54
+
+Capitals, 60, 91, 94, 156
+
+Cartoon for Sgraffito, 3
+
+Centennial Hall, Sydney, 184
+
+Chair from Khorsabad, 72
+
+CIVIL & DOMESTIC ARCHITECTURE:--
+  Basilica. A Roman, 51
+  Baths of Caracalla. Plan of, 36
+  Colonnade of the Louvre, Paris, 70
+  Foscari Palace, Venice, 68
+  Fountain, Place Stanislas, Nancy, 85
+  Garde-Meuble, Paris, 83
+  Gare d'Orleans, Paris, 88
+  Halle au Ble, Paris, 83, 84
+  Halles Centrales, Paris, 87, 88
+  Hotel de Ville, Brussels, 67
+    "   "    "    Paris, 69
+    "   "    "    St. Antonin, France, 51
+    "   des Invalides, Paris, 70, 71
+  Library of St. Genevieve, Paris, 87
+  Mint, Paris. The, 83
+  Monument of Lysicrates, 35
+  Odeon, Paris. The, 84
+  Opera-House, Paris, 86
+  Palazzo Vecchio, Florence, 67
+  Place Stanislas, Nancy, 85
+  Procurazie Nuove, Venice, 68
+  Strozzi Palace, Florence, 70
+  Theatre of Herculaneum, 51
+  Tower of the Winds, 36
+
+Copper-plates from Etowah Mound, 153
+
+"Dance," Paris Opera-House. Carpeaux's, 101
+
+Doorway, Newport, R.I., 28
+
+Doorways. Carved Church, 38, 39
+
+Dormer, 58
+
+Entrance, Stokesay Castle, 155
+
+Equestrian Designs, 72, 170
+
+EQUESTRIAN MONUMENTS:--
+  Conde. The Great, 76
+  Louis XIV, 170, 171
+  Gustavus Adolphus, 73
+  Maximilian I, 74
+  Marcus Curtius, 170
+  Marshal Rantzau, 76
+  William of Orange, 72
+
+Fibula, 54
+
+FUNERARY ARCHITECTURE:--
+  Absalom's Tomb, 116
+  Campo Santo at Genoa, 167
+    "     "   "  Pisa, 164
+  Catacombs, 147
+  Celtic Tumuli, 99
+  Egyptian Tombs, 100
+  Etruscan Tombs, 131
+  Hypogea, 115
+  Mausoleum of Taghlak, 148
+  Mediaeval Tombs, 163
+  Mougheir Tombs, 115
+  Phoenician Tombs, 116
+  Pyramids. The, 100
+  Roman Cippus, 134
+    "   Columbarium, 134
+    "   Funerary Urn, 134
+  Sepulchral Chapel at Paris, 167
+  Stelae, 116
+  Tomb at Montmorency, 166
+  Tomb at Palmyra, 134
+  Tomb at Pompeii, 133
+  Tomb in S. Maria del Popolo, Rome, 165
+  Tomb of
+    Louis de Breze, Rouen, 165
+    Cecilia Metella, Rome, 132
+    Hadrian, 132, 133
+    Louis XII, St. Denis, 164
+    Mazarin, Paris, 166
+    Nakschi Roustam, 117
+    Paul III, Rome, 166
+    St. Stephen, Obazine, 163
+    Marshal Saxe, Strasbourg, 167
+    Theodoric, Ravenna, 147
+  Tombs at Mycenae, 131
+  Tombs at Telmissus and Theron, 131
+  Tombs in India, 148
+  Tombs in Judea and Asia Minor, 117
+  Tomb of the Caliphs at Cairo, 148
+  Urn Containing Heart of Francis I, 164
+
+George Inn, Norton, Eng., 44
+
+Hall in House of J. H. Howe, Rochester, N.Y. Nolan Bros.,
+    Architects, 78
+
+Hinge. Wrought-iron, 135
+
+HISTORY OF HABITATION:--
+  Aztec Dwelling. An, 169
+  Byzantine House, 151
+  Egyptian House, 150
+  Etruscan House, 168
+  Gallo-Roman House, 150
+  Hebrew House, 169
+  Inca Dwelling, 149
+  Pelasgian Hut, 149
+  Phoenician House, 168
+
+Horns. Golden, 55, 56
+
+House of A. A. Carey, Cambridge, Mass. Sturgis & Brigham,
+    Architects, 23
+
+Impost, 50
+
+Martyrs Column, Naples, Italy, 22
+
+MILITARY ARCHITECTURE:--
+  Arch of Austria. The Louvre, 195
+  Assyrian Fortress, 179
+  Bastioned City. A, 196
+  Enceinte of Constantinople, 180
+  Fortification. Section of a, 196
+  Fortresses. Egyptian, 179
+  Plan of Tiryns, 179
+  Towers of Messene, 180
+  Tyre, 180
+  Wall of Castellum of Jublaius, 180
+  Wall of Chateau Gaillard, 195
+  Walls of Pompeii, 180
+  Walls of Verona, 180
+
+"Modern Improvements." "All the," 109, 141, 156, 174
+
+Monument. Scandinavian, 55
+   "      to Egmont and Horn, Brussels, 9
+   "      "  Liszt, 5
+   "      "  Minine and Pojarsky, Russia, 27
+   "      "  the Heroes of the Franco-Prussian War, Berlin, 19
+
+Pulpit, 10
+
+Quintus Church, Mainz, 172
+
+Scabbard Ornament, 40
+
+Sculpture, Campanile of St. Mark's, 57, 93
+
+Sword Hilt, 37
+
+Tower, 24
+
+Turret, Rothenburg, Ger., 204
+
+Verplanck Homestead, Fishkill, N.Y., 26
+
+Waterspout, 90
+
+Window at Ulm, 201
+
+
+
+
+INDEX BY LOCATION.
+
+[_The figures refer to the number of the journal, and not to the
+page._]
+
+
+Aberdeen, Scotland. Cathedral of St. Machar, 733 (_Reg._)
+   "          "     Hall, Craigievar Castle, 743 (_Imp._)
+
+Albi, France. Interior of the Cathedral, 734 (_Int._)
+
+Angouleme, France. House of St. Simon, 735 (_Int._)
+
+Anniston, Ala. Anniston City Land Co. Building. Chisolm & Green,
+    Architects, 734 (_Reg._)
+
+Arbroath, Scotland. Aberbrothwick Abbey, 732 (_Reg._)
+
+Balveny Castle, Scotland, 735 (_Reg._)
+
+Berlin, Ger. House-gable on Taubenstrasse. Herr Holst, Architect, 742
+                 (_Int._)
+  "      "   House on the Rauchstrasse. Kaiser & Grossheim, Architects,
+                 741 (_Int._)
+  "      "   House on the Yorkstrasse. Herr Rintz, Architect, 744 (_Int._)
+
+Birmingham, Eng. House near, Essex & Nicol, Architects, 743 (_Int._)
+
+BOSTON, MASS.:--
+  Building for the Boston Real Estate Trust, 744 (_Reg._)
+  Design for an Office-building. C. H. Blackall, Architect, 734 (_Reg._)
+  House of Mrs. Charles Blake. Sturgis & Cabot, Architects, 732 (_Imp._)
+    "   "  W. A. Burnham. E. C. Curtis, Archt., 739 (_Imp._)
+  Sketch of Store. Wait & Cutter, Architects, 732 (_Reg._)
+
+Brockenhurst, Eng. Black Knoll. R. T. Blomfield, Architect, 742
+    (_Int._)
+
+Bromley, Eng. Board School. Vacher & Hellicar, Architects, 739
+    (_Int._)
+
+Brookline, Mass. House of Capt. Jesse H. Freeman. W. A. Rodman,
+    Architect, 738 (_Reg._)
+
+Brooklyn, N.Y. St. Augustine's Roman Catholic Church Buildings.
+                   Parfitt Bros., Architects, 733 (_Reg._)
+   "       "   Throop Avenue Presbyterian Church. Fowler & Hough,
+                   Architects, 742 (_Reg._)
+   "       "   Vault, Greenwood Cemetery. Renwick, Aspinwall & Russell,
+                   Archts., 744 (_Reg._)
+
+Buda-Pesth, Austria. House of Herr Hatner. Alfred Wellisch, Architect,
+    744 (_Int._)
+
+Cambridge, Mass. High School. Chamberlin & Austin, Architects, 743
+    (_Reg._)
+
+Castle of Vincigliata, Italy. Kitchen. G. Fancelli, Architect, 735
+    (_Int._)
+
+Charleton, Eng. Parish Room and School. F. J. Commin, Architect, 739
+    (_Int._)
+
+Chatham, Eng. Holcombe. John Belcher, Architect, 735, 736, 738, 739
+    (_Int._)
+
+Chelmsford, Eng. Wrought-iron Gates, 732 (_Int._)
+
+Chester, Eng. New Premises. T. M. Lockwood, Architect, 737 (_Int._)
+
+Chicago, Ill. House of Julius Howells. Wm. H. Pfau, Architect, 740
+                  (_Reg._)
+   "      "   Houses for Potter Palmer. C. M. Palmer, Architect, 735
+                  (_Reg._)
+
+Chislehurst, Eng. Butler's Wood. Ernest Newton, Architect, 733
+    (_Int._)
+
+Cincinnati, O. Capitals from Chamber of Commerce. H. H. Richardson and
+                   Shepley, Rutan & Coolidge, Successors, Architects,
+                   740 (_Imp._)
+     "      "  House for Mrs. T. T. Haydock. J. W. McLaughlin,
+                   Architect, 743 (_Imp._)
+
+Clackmannan, Scotland. Castle Campbell, 739 (_Int._)
+
+Cleveland, O. House of Chas. F. Brush, George H. Smith, Architect, 742
+                  (_Imp._)
+    "      "  House of Mrs. S. T. Everett. C. F. & J. A. Schweinfurth,
+                  Architects, 735 (_Imp._)
+
+Concord, N.H. Chapel, St. Paul's School. Henry Vaughan, Architect, 742
+    (_Reg._)
+
+Cranbrook, Eng. Mill Pond Farm. M. E. Macartney, Architect, 743
+    (_Int._)
+
+Detroit, Mich. Premises of G. G. Booth. Mason & Rice, Architects, 740
+    (_Reg._)
+
+Dinan, France. Street View, 736 (_Int._)
+
+East Providence, R.I. Town-hall. W. R. Walker & Son, Archts., 738
+    (_Reg._)
+
+Edgware, Eng. Chapel of St. Mary of Nazareth. James Brooks, Architect,
+    736 (_Int._)
+
+Elmira, N.Y. First Baptist Church. Pierce & Dockstader, Archts., 739
+    (_Reg._)
+
+Exeter, Eng. House at. James Crocker, Architect, 733 (_Int._)
+
+Falmouth, Eng. Church of All Saints. J. D. Sedding, Architect, 737
+    (_Int._)
+
+Felixstowe, Eng. The Gables. William A. Thorp, Architect, 740 (_Int._)
+
+Frome, Eng. Frome Union Offices. Drake & Bryan, Architects, 744
+    (_Int._)
+
+Gardiner, Me. Baptist Church. Stevens & Cobb, Architects, 737 (_Reg._)
+
+Goring-on-Thames, Eng. House. Geo. W. Webb, Architect, 740 (_Int._)
+
+Granada, Spain. Torre del Vino, Alhambra, 732 (_Int._)
+
+Greenville, N.Y. Cottage for Dr. T. H. Willard, Jr. Adolph Haak,
+    Architect, 737 (_Reg._)
+
+Grimsby, Eng. Clee Park Hotel. E. W. Farebrother, Architect, 738
+                  (_Int._)
+  "       "   Railway Tavern. E. W. Farebrother, Architect, 738 (_Int._)
+
+Hackney Downs, Eng. Swimming-bath and Gymnasium, Grocers' Company
+    Schools. H. C. Bowes, Archt., 736 (_Int._)
+
+Hampstead, Eng. House of Edwin Long, R.A. R. Norman Shaw, Architect,
+    734 (_Int._)
+
+Innsbruck, Austria. Interior of the Hofkirche, with Tomb of Maximilian I,
+                        735 (_Int._)
+  "           "     Villa Blanca, near. T. W. Deininger, Architect, 740
+                        (_Int._)
+
+Karlstadt, Austria. House of J. Benic. Hans Pruckner, Architect, 743
+    (_Int._)
+
+Kearney, Neb. Block of Houses for E. K. Greene. Frank, Bailey &
+                  Farmer, Architects, 741 (_Reg._)
+  "       "   House of C. H. Elmendorff. Frank, Bailey & Farmer,
+                  Architects, 737 (_Reg._)
+  "       "   House of Geo. W. Frank. Frank, Bailey & Farmer, Architects,
+                  743 (_Reg._)
+
+Kingston, Eng. Coombe Warren. George Devey, Archt., 732, 734 (_Int._)
+
+Leeds, Eng. Wesleyan Chapel. T. Butler Wilson, Architect, 734 (_Int._)
+  "     "   All Saints' Church. R. Norman Shaw, Architect, 735 (_Int._)
+
+Lewiston, Me. School-house. Geo. F. Coombs, Architect, 735 (_Reg._)
+
+Linlithgow, Scotland. Dalmeny Church, 742 (_Imp._)
+
+Linz, Austria. Savings Bank. Austrian Building Co., Architects, 742
+    (_Int._)
+
+LONDON, ENG.:--
+  All Saints' Church. Christopher & White, Architects, 743 (_Int._)
+  Business Premises.  Frederick Wallen, Architect, 738 (_Int._)
+  Design for Church of the Good Shepherd. T. Phillips Figgis, Architect,
+      733 (_Int._)
+  House, James Street, Buckingham Gate. R. T. Blomfield, Architect, 742
+      (_Int._)
+
+Los Angeles, Cal. Hall in House of W. R. Ray. W. Redmore Ray,
+    Architect, 740 (_Reg._)
+ "    "       "   High-School. J. N. Preston & Son, Archts., 738 (_Reg._)
+ "    "       "   Memorial "Church of the Angels." E. A. Coxhead, Archt.,
+                      733 (_Reg._)
+
+Lucca, Italy. Piers of the Cathedral Portico, 739 (_Int._)
+
+Malden, Mass. Competitive Design for the First Baptist Church. Lewis &
+                  Phipps, Architects, 740 (_Reg._)
+  "      "    House. Chamberlin & Whidden, Architects, 738 (_Reg._)
+  "      "    Interiors in House at. Chamberlin & Whidden, Architects,
+                  738 (_Imp._)
+
+Mansfield, O. St. Luke's Church. W. G. Preston, Architect, 744
+    (_Reg._)
+
+Memphis, Tenn. Design for Presbyterian Church. W. Albert Swasey,
+    Architect. 742 (_Reg._)
+
+Minneapolis, Minn. Netley Corners. J. C. Plant, Architect, 744
+    (_Reg._)
+
+Minnetonka Beach, Minn. House of A. H. Stem. A. H. Stem, Architect,
+    741 (_Reg._)
+
+Morbihan, France. Chateau de Josselin, 733 (_Int._)
+  "         "     Interior in the Chateau de Josselin, 732, 733 (_Int._)
+
+Nairn, Scotland. Cawdor Castle, 738 (_Int._)
+
+New Brunswick, N.J. Entrance-hall in House of Prof. C. E. Hart. H. R.
+                        Marshall, Architect, 736 (_Imp._)
+ "     "        "   House of Prof. C. E. Hart. H. R. Marshall, Architect,
+                        736 (_Reg._)
+
+New Haven, Conn. Osborn Hall. Bruce Price, Architect, 741, 744
+    (_Imp._)
+
+Newport, R.I. House of W. S. Wells. G. E. Harding & Co., Archts., 736
+    (_Reg._)
+
+NEW YORK, N.Y.:--
+  Competitive Design for the Cathedral of St. John the Divine.
+    Glenn Brown, Architect, 732 (_Reg._)
+    Edward C. Casey, Archt., 736 (_Int._)
+    Cram & Wentworth, Architects, 738 (_Imp._)
+    Stephen C. Earle, Archt., 736 (_Int._)
+    John L. Faxon, Architect, 736 (_Int._)
+    B. G. Goodhue, Archt., 738 (_Imp._)
+    J. R. Rhind, Architect, 743 (_Imp._)
+  U.S. Trust Co.'s Building. R. W. Gibson, Architect, 734 (_Imp._)
+
+Normandy. Sketches in. By Herbert Railton, 739 (_Int._)
+
+Norton, Va. Sketch for Hotel at. Geo. T. Pearson, Architect, 734
+    (_Reg._)
+
+Norwich, Eng. Font and Canopy, St. Peter, Mancroft. Frank T.
+    Baggallay, Architect, 735 (_Int._)
+
+Orange, N.J. House of J. R. Burnett. F. W. Beall, Architect, 743
+    (_Reg._)
+
+PARIS, FRANCE:--
+  Auditorium of the Palace of the Trocadero, 732 (_Int._)
+  Central Dome of Exhibition Buildings,  740 (_Reg._)
+  Ecole de Medecine, 741 (_Int._)
+  New Bourse du Commerce. H. Blondel, Architect, 735 (_Int._)
+  Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne,
+      743 (_Int._)
+  Palace of the Liberal Arts. J. C. Formige, Architect, 735 (_Int._)
+  Porte Cochere, 744 (_Int._)
+  Tower, St. Etienne du Mont, 737 (_Reg._)
+
+Paterson, N.J. Sketch of Stable. C. Edwards, Architect, 735 (_Reg._)
+
+Pennfield, Pa. Alicia Springs Hotel. E. Culver, Architect, 738
+    (_Reg._)
+
+Poblet, Spain. Cloister, 737 (_Int._)
+
+PROVIDENCE, R.I.:--
+  Competitive Design for Gymnasium for Brown University. Gould & Angell,
+      Architects, 741 (_Int._)
+  Competitive Design for Gymnasium for Brown University. Stone, Carpenter
+      & Willson, Archts., 741 (_Int._)
+  House of E. D. Pearce. Rotch & Tilden, Archts., 740 (_Int._)
+   "    "  G. M. Smith. Stone, Carpenter & Willson, Architects, 733
+      (_Imp._)
+  Old Iron and Brass Work, 737 (_Reg._)
+
+Quimper, France, Cathedral, 742 (_Int._)
+
+Reading, Eng. Church of St. John the Baptist. E. Prioleau Warren,
+    Architect, 737 (_Int._)
+
+Ripon, Eng. Semi-detached Houses. T. Butler Wilson, Architect, 740
+    (_Int._)
+
+Rochester, N.Y. House of J. H. Howe. Nolan Bros., Architects, 736
+                    (_Reg._)
+  "         "   House of Albert Will. Otto Block, Architect, 735 (_Reg._)
+  "         "   House on Portsmouth Terrace. W. C. Walker, Architect, 736
+                    (_Reg._)
+
+Rome, Italy. Interior of St. Paul Extra Muros, 734 (_Int._)
+
+Ruxton, Md. House of C. De Lacey Evan. E. G. W. Dietrich, Architect,
+    734 (_Reg._)
+
+St. Andrews, Scotland. Churches of St. Regulus and St. Salvator, 734
+    (_Imp._)
+
+St. Paul, Minn. Houses for Dr. A. Wharton. A. H. Stem, Archt., 739
+    (_Reg._)
+
+SANTIAGO, CHILI:--
+  Congress Hall and Chamber of Deputies, 738 (_Int._)
+  House of Mrs. Consino, 733, 734 (_Int._)
+   "    "  Senor Cuda, 740 (_Int._)
+   "    "  Mr. McKenna, 740 (_Int._)
+  Interior of the Recoletu Church, 735 (_Int._)
+  Official Residence of the Intendente, 734 (_Int._)
+  Residence of the former Viceroy of the Province, 738 (_Int._)
+  Street View, 736 (_Int._)
+
+Savannah, Ga. Hotel de Soto. W. G. Preston, Architect, 733 (_Reg._)
+
+Seamer, Eng. Church of St. Martin. C. Hodgson Fowler, Archt., 742
+    (_Int._)
+
+Shaftesbury, Eng. Hall, Coombe House, near. E. T. White, Archt., 736
+    (_Int._)
+
+Stockholm, Sweden. Warehouse. A. Egendomen, Architect, 735 (_Int._)
+
+Strasbourg, Germany. University. Prof. Worth, Architect, 741 (_Reg._)
+
+Sydney, N.S.W. Town-hall, 743 (_Reg._)
+
+Tonbridge, Eng. Hall Place. George Devey, Architect, 741 (_Int._)
+
+Toulouse, France. Renaissance Doorways, 737 (_Reg._)
+
+Trieste, Austria. Lloyds. Baron Heinrich von Ferstel, Architect, 740
+    (_Int._)
+
+Tunbridge Wells, Eng. House. George Devey, Architect, 741 (_Int._)
+
+Tuxedo, N.Y. Cottage at. Renwick, Aspinwall & Russell, Architects, 744
+    (_Reg._)
+
+Tweedmouth, Eng. Vicarage. F. R. Wilson, Architect, 744 (_Int._)
+
+Vienna, Austria. Grand Hotel. Carl Tietz, Architect, 741 (_Int._)
+  "      "       Palace of Count Pallavicini. Herr Von Hohenberg,
+                     Archt., 743 (_Int._)
+
+Wakefield, Mass. Congregational Church. Hartwell & Richardson
+    Architects, 744 (_Reg._)
+
+West Medford, Mass. Episcopal Church. H. H. Richardson, Architect, 737
+    (_Imp._)
+
+Yuste, Spain. Ruined Chapel of Charles V, 732 (_Int._)
+
+
+
+
+THE AMERICAN ARCHITECT AND BUILDING NEWS.
+
+VOL. XXVII. Copyright, 1890, by TICKNOR & COMPANY, Boston, Mass. No.
+732.
+
+
+Entered at the Post-office at Boston as second-class matter.
+
+JANUARY 4, 1890.
+
+
+
+
+[Illustration: CONTENTS]
+
+
+SUMMARY:--
+
+The Incomes of Architects.--Death of Mr. George F.
+Durand, Architect.--Concrete Arches.--An Architect's
+Responsibility for Exceeding the Stipulated Cost of a
+Building.--A French Case in Point.--A Contractor
+Engages in Profit-Sharing with his Workmen.                          1
+
+THE APARTMENT-HOUSE.                                                 3
+
+ARCHITECTURE IN BROOKLYN.                                            5
+
+THE STRUCTURE OF SANDSTONE.                                          9
+
+THE BARYE EXHIBITION.                                               10
+
+ILLUSTRATIONS:--
+
+"The Lion and the Serpent."--Auditorium of the Palace
+of the Trocadero, Paris, France.--An Interior in the
+Chateau de Josselin, Morbihan, France.--Torre del Vino,
+Alhambra, Granada, Spain.--Ruins of the Chapel of
+Charles V, Yuste, Spain.--Coombe Warren, Kingston,
+England: Garden Front.--Coombe Warren, Kingston,
+England: Entrance Front.--A Gentleman's Country
+House.--Wrought-Iron Gates, Duke Street,
+England.--Historical Figures from Lord Mayor's
+Procession, 1889.--House of Mrs. Charles Blake, Beacon
+Street, Boston, Mass.--Competitive Designs for the
+Cathedral of St. John the Divine, New York, N.Y.--Abbey
+of Aberbrothwick: Gallery over Entrance.--Abbey of
+Aberbrothwick: The Western Doorway.--Design for a
+Store.                                                              12
+
+SOCIETIES.                                                          14
+
+COMMUNICATIONS.--
+
+Barye's Admirer.--Evaporation of Water in Traps.                    15
+
+NOTES AND CLIPPINGS.                                                15
+
+TRADE SURVEYS.                                                      16
+
+       *       *       *       *       *
+
+That extraordinary phenomenon, which those who read many newspapers
+sometimes encounter, of the inspiration of two writers following
+tracks so closely parallel that their effusions are word for word the
+same from beginning to end, was recently to be observed in the case of
+the New York _Herald_ and the Pittsburgh _Leader_, which published on
+the same day an article devoted to architects or, rather, to their
+incomes, which held up these fortunate professional men as objects to
+be envied, if not by all the world, at least by journalists, many of
+whom have just now a way of writing about rich men or women which
+suggests the idea that the journalist himself was brought up in a
+jail, and sees nothing but the pockets of those whom he favors with
+his attention. The present writers, after half a column or so of
+rubbish about the grandeur of American buildings, furnish the New York
+and Pittsburgh public with the information that "there are in the city
+of New York at least ten architects whose annual net income is in
+excess of a hundred thousand dollars, while in Philadelphia, Chicago,
+Boston and St. Louis there are quite as many who can spend a like
+amount of money every year without overdrawing their bank accounts."
+This is certainly very liberal to the architects, but what follows is
+even more so. "There are," we are told, in addition to the magnates
+just mentioned, "hosts of comparatively small fry whose annual profits
+will pass the fifty-thousand-dollar mark." If an architect whose net
+income is only a thousand dollars a week belongs to the "small fry,"
+what name would these journalists have for the remaining insignificant
+beings who practise architecture faithfully and skilfully, and thank
+Providence sincerely if their year's work shows a profit of three
+thousand dollars? Yet, with a tolerably extended acquaintance in the
+profession, we are inclined to think that this list includes the
+greater part of the architects in this country. As to the architects
+whose usual income from their business is a hundred thousand dollars,
+they are pure myths. The New York-Pittsburgh authority mentions by
+name Mr. R. M. Hunt as one of them. As a counterpoise to this piece of
+information, we will mention what a worthy contractor once said to us
+about Mr. Hunt. The builders were not, in those days, very fond of our
+venerated President. He had altogether too many new ideas to suit
+their conservatism, which looked with horror on anything out of the
+common way. "The fact is," said the contractor, in a burst of
+confidence, "Mr. Hunt never could get a living at all if he hadn't a
+rich wife." By averaging these two pieces of misinformation, after
+the manner of the commissioners of statistics, one may, perhaps, get
+some sort of notion of what a very able and distinguished architect in
+New York, seconded by skilful and devoted assistants, can make out of
+his business; but men so successful are extremely rare exceptions in
+the profession, and the "hosts" of "small fry" whose annual profits
+amount to fifty thousand dollars, of course, do not exist. It would be
+a waste of time to notice such ridiculous assertions, were it not that
+they do a great deal of harm to the profession and the public: to the
+profession by making people believe that architects are combined to
+extort an unreasonable compensation for their work; and to the public
+by spreading the idea that the profession of architecture is just the
+one in which their sons can become rapidly rich without much trouble.
+It would be a useful thing to publish here, as is done in England, the
+value of the estate left at their death by architects of distinction,
+although in many cases this is greatly increased by inheritance, by
+marriage, by fortunate investments or by outside employment; but, if
+this should be done, it would be not less useful to publish also a few
+true accounts of the early trials and struggles of architects. How
+many of them have we known who have given drawing-lessons, illustrated
+books, designed wall-papers, supervised laborers, delivered
+lyceum-lectures or written for newspapers, happy if they could earn
+two dollars a day while waiting for a vacancy in the "hosts" of
+architects with a thousand dollars a week income. How many more, who
+were glad of the help of their faithful young wives in eking out the
+living which had love for its principal ingredient. And of those who
+have persisted until time and opportunity have brought them a
+comparatively assured, though modest position, how many have found
+their way to it through architecture? If we are not mistaken, less
+than half of the trained students in architecture turned out by our
+technical schools are to be found in the profession six years later.
+The others, ascertaining, on a closer view, that their expected income
+of fifty thousand dollars a year is farther off than they anticipated,
+and that fifty thousand cents is about as much as they can expect for
+a good many years to come, drift away into other employments, and some
+of them, no doubt, will be much astonished to learn from the newspaper
+reporters what they have missed.
+
+       *       *       *       *       *
+
+We regret very much to hear of the death of Mr. George F. Durand,
+Vice-President of the Canadian Society of Architects; which occurred
+at London, Ontario, last week. Mr. Durand was young in the profession,
+being only thirty-nine years old, but was very widely and favorably
+known among architects and the public, both in Canada and elsewhere.
+He was a native of London, but after spending a short time in the
+office of the city engineer there, he went to Albany, N.Y., where he
+was employed by Mr. Thomas Fuller as his chief assistant in the work
+on the new capitol, which was then in Mr. Fuller's hands. When Mr.
+Fuller was superseded, Mr. Durand left Albany with him, and, after a
+year spent in Maine, with a granite company, he returned to his native
+city, where he soon found constant and profitable employment, having
+for several years built a large part of the most important structures
+in Western Ontario. The London _Advertiser_, to which we owe most of
+our information as to his works, offers to his relatives and friends
+the sincere sympathy of the public which it represents, and we are
+sure that the architects of the United States will join with their
+brethren in Canada in mourning the loss of one who, at so early an
+age, had conquered for himself so conspicuous a place in his laborious
+profession.
+
+       *       *       *       *       *
+
+Some interesting experiments on concrete arches were made recently,
+during the construction of the new railway station at Erfurt. Some of
+the rooms were to be covered with concrete floors, carried on iron
+beams, while others, of smaller size, were intended to be spanned by
+arches extending from wall to wall. One of the latter, something over
+seven feet in width, was covered with concrete, flat on top, and
+forming on the underside a segmental arch, the thickness of the
+material at the crown of the arch being four inches, and about eleven
+inches at the springing. The concrete was made of "Germania" Portland
+cement, mixed dry with gravel, moistened as required, and well rammed
+on the centring; and skew-backs were cut in the brick walls at the
+springing line, extending two courses higher, so as to give room for
+the concrete to take a firm hold on the walls. Fourteen days after
+completion, this floor was loaded with bricks and sacks of cement to
+the amount of more than six hundred pounds per square foot, without
+suffering any injury, although, after the load was on, a workman
+hammered with a pick on the concrete, close to the loaded portion, so
+as to provoke the cracking of the arch if there had been any tendency
+to rupture. In the other cases, the concrete arches being turned
+between iron beams, the strength of the floor was limited by that of
+the beams, so the extreme load could not be put on; but the curious
+fact was established that a section of concrete flat on top, and
+forming a regular segmental arc beneath, was far stronger than one in
+which a portion of the under surface was parallel to the upper;
+showing, apparently, that the arched form, even with homogeneous
+concrete, causes the conversion of a large part of a vertical pressure
+into lateral thrust, reducing by so much the tendency of the load to
+break the concrete transversely. This observation is important
+theoretically as well as practically. It has been of late generally
+maintained that a concrete arch is not an arch at all, but a lintel,
+without thrust, and that the common form, flat above and arched
+beneath, is objectionable, as it gives least material at the centre,
+where a lintel is most strained. The Erfurt experiments directly
+contradict this view, and it remains for some students of architecture
+to render the profession a service by repeating them, and, at the same
+time, actually determining the thrust, for a given load, of arches of
+particular forms. Until this is done, the concrete construction, which
+is likely, we may hope, to become before many years the prevailing one
+in our cities, will be practised with difficulty and uncertainty, if
+not with danger. Incidentally, a trial was made of the effect of
+freezing on the concrete. The floor of a room arched in four bays,
+between iron beams, had just been finished when the weather became
+cold, and on the morning after its completion the thermometer stood at
+twenty above zero. The concrete had not been protected in any way, and
+the contractor was notified that it had been frozen, and must be
+removed. This was early in December, and it was about the first of
+April before the work of removal, preliminary to replacing the
+concrete with new material, was begun. Three bays had been wholly or
+partly removed when the hardness of the concrete under the workmen's
+tools attracted attention, and the arch remaining intact was tested
+with a load of three hundred pounds per square foot, which it bore
+perfectly.
+
+       *       *       *       *       *
+
+The question how far an architect can be held responsible in damages,
+in cases where the cost of work exceeds the estimates, is examined in
+a recent number of _La Semaine des Constructeurs_, and some
+considerations are mentioned which are new to us. According to
+Fremy-Ligneville, the most familiar authority on the subject, the
+architect incurs no responsibility whatever, either for his own
+estimates or those of other people, unless he intentionally and
+fraudulently misleads his client by a pretended estimate. In this
+case, as in that of any other fraud, he is liable for the results of
+his crime. Except under such circumstances, however, the architect's
+estimate of cost is simply an expression of opinion, the correctness
+of which he does not guarantee, any more than a lawyer guarantees the
+correctness of an opinion, although important interests may depend
+upon it. The owner can estimate the value of the architect's opinion,
+as of the lawyer's, by the professional reputation of the man who
+gives it, and, if he wishes to be more secure, he can go to another
+architect, as he would to another lawyer, for an independent estimate.
+Moreover, if the owner of the projected building is still anxious that
+the cost should be strictly limited to the sum estimated by the
+architects, he can have a contract drawn by which the builder shall be
+obliged to complete it for that sum, and can have his plans and
+specifications examined by competent authority, to see if they include
+everything necessary. This ought to make him reasonably sure what his
+house will cost him, provided he does not himself make changes in the
+plans or specifications. If he has omitted to take this precaution,
+and, as his building goes on, he finds that it is likely to exceed the
+estimate, he has another excellent opportunity to protect himself, by
+ordering immediately such changes in the plans and specifications for
+the work yet remaining to be done as may reduce the expense to the
+desired amount, and by doing so he generally suffers no damage, as, if
+he does not get all he expected to for his money, he gets all his
+money will pay for.
+
+       *       *       *       *       *
+
+With all these opportunities for revising and testing the correctness
+of an architect's estimate, the man who neglects to avail himself of
+any of them, and who allows the work on his house to go on, after it
+has become evident that it will cost more than the estimate, has,
+according to M. Fremy-Ligneville, no claim against any one on account
+of his disappointment. Of course, the architect should be as careful
+in his estimates as his experience allows him to be, and any
+conscientious man would try not to mislead a client, but both he and
+his client must remember that when the tenders of the builders
+themselves usually vary from fifty to a hundred per cent for the same
+piece of work, an architect's estimate cannot be anything more than an
+opinion. Moreover, the architect should not forget that, being an
+opinion, and not a guaranty, he is not only at liberty to modify it as
+much and as often as he sees fit, but is bound to do so, and to inform
+his client at once of the change, when fuller information, or
+alteration in the circumstances, shall show him that the original
+estimate is likely to be exceeded. If he does this frankly, although
+his client may be disappointed, he cannot reproach the architect with
+trying to deceive him, and there will probably still be time to make
+the changes necessary for reducing the expense to the desired point.
+In a case decided in Paris in July, 1855, a man was condemned to pay
+fifty-four thousand francs for repairs done on a house. He proved that
+his architect had estimated the expense at seven or eight thousand,
+but it was shown that the architect had subsequently informed him that
+it would be necessary to do more work than was at first contemplated,
+and that he had made inquiries about the matter, and had turned out
+his tenants so that the work might be done, and had paid the
+contractors more than the sum originally estimated; and the court
+thought he had no case at all against the architect.
+
+       *       *       *       *       *
+
+The great building firm of Peto Brothers, in England, having been
+awarded a contract for a large public building, have taken advantage
+of what, as they say, they consider a favorable opportunity to
+initiate a system of profit-sharing with their men, in accordance with
+a circular which is printed in the _Builder_. The system described by
+the circular is very simple. It is to apply for the present, only to
+the contract mentioned, but, if it works well, will be extended to
+future cases. Under the arrangement proposed one-quarter of the net
+profits of the contract are, when the building is done and the
+accounts settled, to be divided, as a bonus above their wages, among
+the men who have worked on it, in proportion to the wages they have
+earned. The conditions under which each man is entitled to his share
+are that he shall have worked long enough on the contract to have
+earned five pounds, at the regular rate of wages; that he shall not
+have neglected his duty, or misconducted himself, or wasted his time,
+or in other ways have acted so as to diminish the profits of the
+contract, or injure the reputation of the firm for good and honest
+work; and, that he shall not have engaged in any strike for shorter
+hours, or for wages above the schedule of wages which prevailed at the
+time the contract was made, and upon which the contract price was
+based. That the workmen may assure themselves of the fairness with
+which the division is carried out they are invited by the circular to
+send a representative to watch the making-up of the accounts by the
+auditor of the firm, and to sign the balance-sheet. In order to
+identify the claimants, every man must obtain a printed ticket from
+the time-keeper, on beginning his work, countersigned by the foreman,
+and noting the day and hour when his employment commenced, with his
+name, number and wages. This is to be again signed and countersigned
+when he leaves, and must be produced to secure a share in the
+dividend. Unpretending as it is, this bids fair to be one of the most
+interesting experiments in social science yet tried, and unless the
+trades-unions in England have forgotten their prowess, it will not be
+carried out without a struggle. Our readers will remember Mr. Lewis H.
+Williams's experiences in trying a similar plan with his carpenters in
+New York, and his final victory, but he had only one union to contend
+with, and that not a very compact one, while Messrs. Peto Brothers
+will have all the building trades about their ears at once, and the
+great question whether men shall be allowed to do only a fixed amount
+of work in a day, and that amount as small as possible, or whether
+they shall be allowed to work as they please, will be fairly brought
+before the parties for decision.
+
+
+
+
+THE APARTMENT-HOUSE.
+
+
+[Illustration: "THE SURE REVOLVING TEST OF TIME--PAST AND PRESENT"
+CARTOON FOR SGRAFFITO by HEYWOOD SUMNER.]
+
+From _Building News_.
+
+Most people are willing to admit that they cannot afford to pay over
+twice as much for a thing as it is worth; but few in this country are
+aware that they do this very thing when they build for themselves an
+independent city dwelling-house or pay a rent equivalent to or greater
+than the interest on this outlay.
+
+In the old country the secret of obtaining luxury and economy combined
+in building has been learned, and rich and poor, fashionable and
+unfashionable alike live in "flats." In America, people have not yet
+learned this lesson, but cling to the old and barbarous custom of
+living _perpendicularly_ in isolated towers, with all the cares and
+worries that go with isolated management.
+
+[Illustration: Figure 1.]
+
+Nothing shows more clearly than this, how much man is a creature of
+habit. In his savage state, the nature of his existence necessitated
+the isolated hut. As civilization advanced, however, the necessity
+for, and enormous advantages of cooeperation became evident, but habit
+perpetuated the isolated dwelling long after the reasons for its
+existence had disappeared, and it required centuries for civilized men
+to learn that cooeperation is an element as essential to perfection in
+the arrangement of their habitations as it is in other things.
+
+_A given accommodation may be obtained in the form of a "flat" for
+less than one-half the outlay required to obtain it in the form of an
+independent dwelling built on the same land._
+
+The form of comparison herein presented has never, to my knowledge,
+been heretofore made, and the results are as surprising as they are
+important and interesting.
+
+The estimates of cost have been made by several competent contractors
+on scale drawings and accurate specifications, are easily verified and
+hence may be accepted as reliable.
+
+Figure 1 is one of the plans of our apartment-house which is to be
+built on the Back Bay, Boston.
+
+Figure 2 shows the floor-plans of an independent house which might be
+built on the same land. Both figures are drawn to the same scale for
+convenience in comparing the dimensions. The independent-house (which
+I shall, in contradistinction to the "flat," designate as the "tower"
+to mark its prominent point of difference from the "flat" in form)
+contains a kitchen, pantry, furnace-room, fuel-cellar, laundry,
+dining-room, china-closet, parlor, eight bed-chambers provided with
+suitable closets, two bath-rooms, a trunk-room, a front staircase
+extending from the first floor to the attic, and a back staircase
+extending from the basement to the third floor. What will these
+accommodations cost in this form and what in the form of a "flat" in
+an apartment-house?
+
+The apartment-house contains a public kitchen, steam-heating,
+ventilating and electric-lighting isolated plants, fuel-cellar,
+laundry, cafe, billiard-room, gentlemen's smoking-room, ladies'
+parlor, small public dining-rooms, and eighty suites, _averaging_ five
+rooms, a bath-room and closets in each, and with a trunk or
+storage-room in the basement for each suite; four elevators and four
+fireproof staircases of iron and marble enclosed in brick walls from
+basement to roof.
+
+The suites are of different sizes to suit the proposed occupants, and
+will have from two to twelve or more rooms of varying dimensions as
+desired. They are partly "housekeeping" suites, _i. e._, having
+kitchens and dining-rooms; partly "hotel" suites, _i. e._, having
+neither kitchens nor dining-rooms, the occupants preferring to use the
+public cafe and dining-rooms; and partly "semi-housekeeping" suites,
+_i. e._, having dining-rooms and china-closets with dumb-waiters
+connecting them with the public-kitchen, but no independent kitchen.
+The "housekeeping" suites require one more bed-room than the others,
+to accommodate a private cook.
+
+Assuming now at first in our comparison those conditions which are
+least favorable to the apartment-house, we will take one of the
+"housekeeping" suites, having precisely the same number and size of
+rooms as we find in our independent house or "tower" and compare
+costs.
+
+The only difference in the accommodation in each case is that, in the
+"flat," the rooms are accessible to one another without the use of
+stairs, while in the "tower" six flights of stairs in all are used,
+constituting in the aggregate a ladder, as it were, of about a hundred
+steps; also in the fact that in the "tower" the owner has to manage
+his own heating, ventilating and hot-water supply apparatus, while in
+the "flat" this work is done for him; that in the "tower" wooden
+staircases and no elevators are used, while in the "flat" fireproof
+staircases enclosing elevators are provided; that in the "tower" the
+main partitions are often of wood while in the flat they are of brick
+a foot thick and each "flat" is separated from its neighbor by a brick
+wall a foot thick and all the floors are completely deadened against
+the transmission of sound; and finally that in the "tower" no external
+fire-escape is provided, while the "flat" has convenient external
+fire-escapes of iron. Otherwise the accommodations are in both cases
+precisely the same.
+
+The total cost of this apartment-house, including the building-lot
+valued at, say, $5 a square foot, has been carefully estimated at
+$617,771.
+
+This is the highest of two competitive estimates given by two
+responsible builders, and comprises general cooking-plant,
+electric-lighting, steam-heating and ventilating apparatus, iron
+staircases and fire-escapes, elevators, copper roofing, architect's
+commission, and, in short, everything required for occupancy and use
+except wall-paper.
+
+The first floor contains 16,688 square feet of available room. (By
+"available" I mean room which is directly occupied by, and which must
+be separately provided for each owner. That is, it excludes
+staircases, furnace, laundry, etc., which might be used in common by
+many owners and therefore need not be duplicated for each, and which
+are only indirectly serviceable to each owner in contributing to the
+usefulness of those which are directly enjoyed.) The six floors above
+contain 23,288 square feet of available room each, making a total of
+156,416 square feet. Adding 10,880 square feet for basement storage
+and trunk-room for the suites, and 2,000 square feet in the basement
+for barber's shop, apothecary, carriage and other offices along the
+street fronts, we have a total of 169,296 square feet of available
+room in the entire apartment-house. Dividing the total cost $617,771
+by this figure we have $3.65 for the cost of each square foot of
+available room in the building.
+
+Our "tower" measures twenty-five feet front on party lines, by seventy
+feet deep. Its available rooms comprise parlor, library, music-room,
+eight closeted-chambers, two bath-rooms, a trunk-room, a dining-room,
+and we may add a kitchen for those who still believe in having an
+independent cook.
+
+The area of these rooms is as follows:
+
+    Parlor            374 sq. ft.
+    Library           374    "
+    Music-room        154    "
+    Chamber No. 1     384    "
+    Chamber No. 2     528    "
+    Chamber No. 3     170    "
+    Chamber No. 4     252    "
+    Chamber No. 5     162    "
+    Chamber No. 6     286    "
+    Chamber No. 7     242    "
+    Chamber No. 8     315    "
+    2 Bath-rooms      144    "
+    Trunk-room        136    "
+    Dining-room       408    "
+    Kitchen           384    "
+    China-closet      136    "
+    Other closets     410    "
+
+Making a total of 4,859 square feet of available room in the "tower."
+Its total cost on a twenty-five foot lot of the average depth on the
+Back Bay, _i. e._, 112 feet, the land being valued as before at $5 per
+square foot, would be at the lowest estimate $32,000 at the present
+prices, the wood finish being equally good with that in the "flat." If
+we figure, however, for the same style of lighting, heating,
+ventilating and fireproofing, and provide an elevator and outside
+fire-escape, the cost could not be put below $40,000.
+
+The same amount of available space, _i. e._, 4,859 square feet in our
+"flat" would cost at $3.65 per square foot as above estimated,
+$17,735.
+
+If now we consider that the management of a private kitchen and an
+Irish cook does not actually constitute the essence of a home in its
+broadest sense, but, that on the contrary, it really deprives a home
+of its greatest charm, namely, peace of mind and rest of body, the
+kitchen and the cook's bed-chamber may be omitted from our "flat" in
+view of the public kitchen. The area of our "flat" then becomes 4,475
+square feet, which, at $3.65 per foot, brings the cost down to a
+little over $16,000.
+
+Finally, if we omit the dining-room also, with its china-closet, our
+area becomes 3,931 square feet, and the cost only $14,350 for the
+"flat," against $40,000 for the "tower," the former being but little
+over a third of the latter.
+
+So much for the saving in the case of a large family and large suite.
+For a small suite, such as would be required for a single person, or a
+small family of two or three persons, the saving at once mounts to a
+very much larger figure; so much so, indeed, as to render the use of
+the isolated house in such cases a most inordinate extravagance,
+except for the very rich. Thus a single person, or a family of two or
+three, could be very comfortably provided for with three or four
+rooms, and a bath-room in an apartment-house having a good cafe.
+Estimating the rooms to measure 18 x 22 feet, their area would be a
+little over 400 feet each, including closets, and their cost $1,460
+apiece; or for smaller rooms of, say, 14 x 15 feet, or 224 square-feet
+surface, the cost would be but $818 apiece. An isolated dwelling, on
+the same land, of only eighteen feet frontage and fifty feet deep,
+would cost, including the lot at $5 a foot, not less than $18,000 or
+$8,000, without the land. Of course, in such an isolated dwelling,
+electric-lighting, steam-heating, fireproof stairs, and other luxuries
+of the "flat," would hardly be expected.
+
+By the arrangement of our apartment-house, there are twenty-four
+corner-suites out of the eighty. These have direct sunlight on either
+one or both of their exposed fronts, and may be estimated as worth
+fifty per cent more than the rest. In other words, 3/10 of the whole
+available room space is worth fifty per cent more, and 7/10
+correspondingly less than the average price of $3.65 per foot.
+Therefore, $3.65 x 1-1/2 = $5.47 = price of corner-suites per foot,
+3/10 x the total area 169,296 square feet = 50,788 square feet x $5.47
+= $277,810, which, deducted from $617,771, leaves $339,961 to
+represent the total cost of the remaining 7/10. The total area 169,296
+x 7/10 = 118,507 square feet of available space in the inner-suites.
+Hence $339,961/118,507 = $2.86 as the price per square foot of the
+inner-suites, or all suites which are not corner-suites.
+
+Now, as our estimates on the "tower" were made on the basis of its
+being an inner building in a block and not a corner-house, our
+estimates for the "flat" should be on a basis of $2.86, instead of
+$3.65, as taken. Therefore, our suite of 4,859 square feet would be
+but $13,896 if the "flat" were any other than a corner one, and if the
+public kitchen and cafe were used, it would be $11,242, or _but a
+little more than a quarter of that of the "tower!"_
+
+The foregoing figures are easily explained, and their correctness
+verified by the following simple diagrams and considerations:
+
+[Illustration: Figure 2.]
+
+In Figure 2 the shaded parts of the plans represent the unavailable
+room which, under the apartment-house system, are rendered
+unnecessary, and they are practically wasted. Thus the eighty
+families, by uniting their eighty homes in one cooeperative apartment,
+save 156 staircases consisting of seventy-six front and eighty back
+staircases, seventy-eight furnaces, seventy-nine laundries, etc., and
+nearly all the space they occupy, and the land, foundation and roof
+they represent.
+
+[Illustration: Figure 3.]
+
+This waste space may be graphically shown by the diagrams in Figure 3.
+The large black-and-white line represents the "tower," and the shorter
+the "flat." The black part of each line denotes unavailable, and the
+white part available room, the sum of the two denoting the total
+cubical contents of each dwelling. The white parts of the lines
+measure the same length in each case, because the amount of available
+room in "tower" and "flat" is assumed at the outset to be the same.
+Thus in the "tower," the front and back staircases and halls take up
+22,000 cubic feet out of the total 106,000 cubic feet covered by the
+entire building. In the "flat" the proportional part of the halls and
+staircases for each suite is represented by a comparatively
+insignificant quantity as shown.
+
+Again, an enormous waste is shown in the flooring, roof and air-spaces
+of the "tower," while this item is but a trifle in the "flat." The six
+floors, each 16 inches thick, and the roofing make up together in the
+"tower" 12,000 cubic feet, or nearly the equivalent of an entire
+story. Add to this 12,000 cubic feet of air-space under the roof and
+over the concrete, and we have in these items a waste of 24,000 cubic
+feet, against only 4,000 in the "flat."
+
+Thus we see that the waste space in the "tower" actually exceeds the
+available. Yet it must be paid for at the same rate with the latter.
+Deducting the waste in the "flat" from that in the "tower," we find
+the balance of waste space in the "tower" to be equal to the
+available, showing graphically that the "tower" must cost, in these
+items alone, just twice as much as the "flat."
+
+[Illustration: Figure 4.]
+
+Figure 4 shows a block-plan on a very small scale of the
+apartment-house, and a block-plan on the same scale of 40 "towers"
+adjoining each other, and having the same available space as the
+apartment-house. These plans show how much more land is required to
+give the same accommodations (minus the conveniences and luxuries of
+an apartment-house) in the "tower" system than in the "flat."
+
+The shaded portions in each block-plan represent the aggregate of
+available room in each case. This shows very strikingly what an
+enormous proportion of land and material is wasted in the "tower"
+system.
+
+In short, the possible saving in first cost for each family adopting
+the "flat" system of building lies between $14,265 and $28,758, making
+an aggregate saving for the 80 families occupying the apartment of
+between one and two millions of dollars.
+
+The annual running expenses are also greatly in favor of the "flat"
+system when the advantages of cooeperation are used to its greatest
+extent.
+
+Eighty independent Irish cooks give way to a professional _chef_ and
+half-a-dozen _attaches_. The wages and maintenance of the 80 cooks
+would amount to an annual sum of not less than $40,000; those of the
+_chef_ and his assistants to hardly $10,000, making in this one item a
+possible annual saving of $30,000.
+
+The management of the 80 independent Irish cooks, if possible at all,
+could only be accomplished by the constant struggle of 80 worried and
+largely inexperienced owners or their wives. The management of the
+_chef_ and his _attaches_ could more easily be managed by a single
+person, either selected from among the 80 families and suitably
+recompensed, or employed as a professional manager at a regular
+salary. Or the entire control of the _cafe_, and kitchen could be let
+out by contract to some suitable caterer, if preferred.
+
+Corresponding savings are evidently possible in every other department
+of housekeeping, including steam-heating, ventilating, laundry-work,
+lighting and elevator-work. In all of these particulars, cooeperation,
+judiciously conducted, has been shown to yield surprising economies.
+
+But there are other advantages even more important than its economy in
+favor of the "flat." Freedom from housekeeping cares has already been
+touched upon. In the "tower," life is spent in training and treating
+with servants, mechanics and market-men. The private cook is a volcano
+in a house, slumbering at times, but always ready to burst forth into
+destructive eruption. True repose is out of the question, and we are
+told that "the motive for foreign travel of perhaps one-half of
+Americans is rest from household cares and the enjoyment of good
+attendance, freed from any responsibility in its organization and
+management."
+
+Security against burglary and fire is another. In a good
+apartment-house, trained watchmen stand on guard night and day to
+protect the occupants, and stand-pipes, hose and fire-buckets are
+provided in all the halls, and kept in repair for emergency.
+
+The family may leave their apartments for travel summer or winter,
+knowing that their property is as secure as modern appliances, system
+and ingenuity can make it. Not so with our isolated dwelling. The cost
+of providing all these means of protection is too great to make them
+practicable. The result is that the fear of burglary and fire at all
+times causes uneasiness, particularly on the part of the wife during
+the absence of her husband.
+
+Beauty in the architectural arrangement of the rooms is a third
+advantage of the "flat." In this it has all the advantage of the
+double house or residence of the immensely rich. The rooms may be
+grouped in a manner which renders possible the highest architectural
+effect, whereas in the "tower" the perpendicular arrangement evidently
+precludes such opportunity by limiting the design to a wearisome and
+monotonous repetition from basement to attic.
+
+No argument can be sustained against the "flat" on the ground of
+transmission of sound or want of privacy and isolation, for sound may
+be as fully deadened as in the "tower" by means of the 12-inch brick
+separating walls shown in our plan, and the most improved deafening
+treatment of the floor-joists.
+
+Isolation may be made complete in the "flat," the private halls and
+front doors of each suite being in every respect the equivalent of
+those in the "tower"; the only difference being that with the "flat"
+the outer world begins with the public hall and its elevator, while
+with the "tower" it begins with the public street and its horse-car.
+
+Add to these advantages the possibility for a greatly enlarged and
+delightful social intercourse which a properly arranged and conducted
+apartment-house provides, and we have as near an approach to the ideal
+of a human habitation as has yet been devised.
+
+J. P. PUTNAM.
+
+
+
+
+ARCHITECTURE IN BROOKLYN.
+
+
+[Illustration]
+
+The city of Brooklyn has at last waked up to realize her size and
+importance architecturally. Brooklyn, though growing very rapidly and
+having many buildings of importance, has really had very little good
+architecture, for the simple reason that the profession, not being in
+any way organized, could not, as a rule, receive the treatment due
+respectable architects. For this reason many young men who would not
+be capable of practising elsewhere, have flocked to this city, and by
+various methods, many of which are far from honorable, have succeeded
+in getting control of most of the work. However, we hope for better
+things.
+
+The Brooklyn Institute some time ago decided to organize a Department
+of Architecture, and for this purpose a meeting of architects was
+called, which led to several more meetings and the attendance at these
+was exceedingly hopeful for the new department, some forty or fifty
+architects signifying their willingness to help along in the work;
+finally a public meeting was held in the Institute on Friday December
+13, at which some six or seven hundred persons were present, and the
+Department was fully organized; the constitution carefully thought-out
+at the previous meetings was adopted, and the following list of
+officers chosen:
+
+_President_, G. L. Morse; _Vice-President_, Louis De Coppet Berg;
+_Secretary_, William B. Tubby; _Treasurer_, Gustave A. Jahn;
+_Committee on Current Work_, Richard M. Upjohn, R. L. Daus and Louis
+De Coppet Berg; _Committee on Museum and Library_, Walter E. Parfitt,
+Pierre Le Brun; and Wm. Hamilton Gibson; _Committee on Competitions
+and Awards_, R. L. Daus, D. E. Laub, Russell Sturgis; _Committee on
+Professional Practice_, Walter Dickson, Albert F. D'Oench, Richard M.
+Upjohn; _Committee on Social Intercourse_, H. P. Fowler, Charles T.
+Mott and General Ingram.
+
+During the necessary intervals of balloting, etc., the President, Mr.
+George L. Morse, made a short address, setting forth the history of
+the previous meetings, and congratulating the local architects on the
+prospect of having a strong and well-organized society.
+
+Mr. Louis De Coppet Berg, of the firm of J. C. Cady & Co., Architects,
+then addressed the meeting as follows:--
+
+      When a young man enters a profession, and particularly
+      the profession of architecture, if perchance he gets
+      an original idea, or a little knowledge, he at once
+      becomes very secretive, tries to keep it all to
+      himself for fear some one else will benefit by it, and
+      marks all his drawings "The property of...," and "Not
+      to be copied, or used, without the consent of the
+      author, _under penalty of the law_." As he grows a
+      little older in his profession he begins to find out
+      that a few others have ideas as well as himself, and
+      know a little something once in a while; and as he
+      grows still older he finds that there are a great many
+      others, who know a great deal more than he does, and
+      who have a great many better ideas than he has; and
+      then it is, that he longs for communication with his
+      professional brethren, and he finds that, in order to
+      get the benefit of their ideas and knowledge, he must
+      freely communicate his own to them. Hence it is that
+      in most of the large cities we find some association
+      of architects; Brooklyn, however, the third city of
+      the Union, is unique in this respect, that it has
+      absolutely no place where professional architects can
+      meet and discuss the different problems of their
+      profession.
+
+      To remedy this evil, the Brooklyn Institute proposed
+      to establish a Department of Architecture, and for
+      this purpose called together a large number of local
+      architects.
+
+      Now, we have decided that, if we have any Department
+      at all, it shall be a live one; and this reminds me of
+      a squib I read in the paper the other day, telling
+      how, somewhere in Spain, they had unearthed an old
+      painting, which was pronounced a genuine Murillo. It
+      was said that the experts could not as yet determine
+      whether the subject of the cracked and dingy old
+      canvas was a Madonna or a Bull Fight, but that,
+      nevertheless, they did not hesitate to declare that it
+      was a great acquisition to art. Now, that is the
+      trouble with most associations of architects; if the
+      subject for discussion is only old, cracked and dingy
+      enough, they are happy. Nothing delights them more
+      than to spend all their time and energies in
+      discussing Etruscan or other antique architectures, or
+      the exact differentiations between the many styles of
+      architecture. Now, while we value the history of an
+      art, and shall give it all due attention, we propose
+      to remember that the modern architect, besides being
+      an artist, must be one of the most practical and
+      executive of business men.
+
+      We admit that our ancestors in the profession designed
+      beautiful castles, magnificent cathedrals and lovely
+      chateaux, but we remember that these castles, these
+      cathedrals, these chateaux were planned without any
+      comfort; that they had no plumbing devices, no methods
+      for cooking, no systems of heating or ventilation, and
+      no way of getting light but the miserable taper; while
+      to-day the architect, besides being a thorough artist,
+      who knows how to design and to color, besides being
+      thoroughly up in the history of his art, must know how
+      to plan for comfort, to construct for strength and
+      stability; must understand all the details of boilers,
+      machinery, dynamos, electric-wiring, heating and
+      ventilating systems, plumbing and sanitation, and
+      lastly must be able to manage the complicated finances
+      of large undertakings.
+
+      Now, to carry out these ideas in our work, we shall,
+      in the first place, establish a museum and library, to
+      which we shall welcome all gifts of books, pictures,
+      models, casts, etc., whether illustrating the
+      artistic, or the practical side of the profession.
+      Then we shall have a course of monthly, public
+      lectures by competent authorities, the subjects of
+      which will probably be very largely chosen from the
+      artistic side of the profession. We also propose to
+      have stated meetings of the Department monthly, at
+      which some carefully selected papers will be read by
+      experts, the subjects of which will be given out as
+      long in advance as possible, in order that all may be
+      thoroughly prepared for a full and open discussion;
+      and then, after these meetings, in order to promote
+      sociability amongst the members, and to show how
+      thoroughly practical we are, we propose to have
+      something to eat. We also hope later to establish
+      schools, not only for young men, but particularly for
+      draughtsmen, where they can be taught, not only the
+      art of drawing, but also the many practical branches
+      connected with the profession.
+
+The meeting was also addressed by the Rev. Dr. Chas. H. Hall,
+President of the Associate Members. He spoke at great length and kept
+his audience intensely interested by describing his own acquaintance
+with architecture, beginning with the original negro log-house down
+South, then the prim buildings of old Andover and Harvard, and finally
+how he saw the great former St. Ann's of Brooklyn, the likeness of
+which, he said, could be seen any day on the piers of New York when
+they were unloading dry-goods boxes; and how he finally went abroad
+and saw the beautiful architecture of Paris, which he could not praise
+enough. He was also unstinted in his praise of the modern beauty and
+architecture of Washington. He also spoke of his visits to London,
+and, while he admitted that Englishmen thought their architecture
+beautiful, he took exception, and claimed that the great St. Paul's,
+though beautiful to the English eye, was a cold barren building,
+blacked with smoke inside and out, a place where you could not be
+comfortable, nor hear the speaker at any distance. We regret that we
+are not able to give a verbatim account of his witty address.
+
+At the end of Dr. Hall's address, the lecturer of the evening,
+Professor Russell Sturgis, architect, of New York, addressed the
+meeting as follows, his subject being "The Study of Architecture,"
+with particular reference to the architecture of to-day.
+
+
+ADDRESS OF MR. RUSSELL STURGIS.
+
+With regard to architecture and all the arts of decoration, there is a
+strange difference between the practice of them, and such study as
+looks toward practice, on the one hand, and the history and theory of
+them, with such study as that involves, on the other. Quite completely
+are these two studies separated, each from the other. A man may be
+most active and successful as a practising designer, and successful in
+an artistic way, too, with no knowledge and little thought of the
+history of his own branch of art, and with little curiosity as to its
+philosophy or its poetry. And, on the other hand, a man may be a very
+earnest student, and a happy and delighted student of the history and
+criticism of art, and know nothing, and care as little, about the
+profession or practice of any art, or about studio ways and studio
+traditions. I do not know that in any branch of human study this
+distinction is so marked and so strong. This is to be regretted, for
+many reasons, but it can hardly be done away with so long as the
+community is generally careless of both the theoretical and the
+practical--so long as the students and the practitioners alike feel
+themselves nearly isolated units, floating in a sea of good-humored
+indifference. This state of things only time can alter. Only time can
+civilize our new community in intellectual and perspective matters;
+but there are some other conditions which are more immediately in our
+power to modify, perhaps--let us see:
+
+It is as true as if it had not been repeated, even to fatigue and
+boredom, that the arts of decoration have been in a bad way for a good
+part of the century past, at least among some European and
+Europeanized nations. I do not imagine that a Frenchman would admit
+that architecture and the arts of decoration had ever languished in
+his own society. Your cultivated Frenchman would say that some periods
+were better than others, but that there were no bad periods; he would
+say that, to be sure, the style of the First Napoleon's Empire was not
+a very fortunate style,--too stiff, too absurdly pseudo-classic,
+unworthy of France, a poor enough successor of the dainty and playful
+art of Louis XV, or the somewhat more refined and restrained art of
+Louis XVI: but he would say that it was art still, and the period a
+not wholly inartistic period; and even of the dull times of the
+Napoleon of Peace, from 1830 to 1848, while he would confess to a
+great deal of languor and lack of public spirit of all sorts, except
+in the struggle which the Romantic artists, headed by Delacroix, waged
+with the Classicists, headed by Ingres; while he would admit that the
+abundant wood-cuts and lithographs, the painting and statues much less
+abundant even in proportion, and the buildings very few and
+unimportant, were not sufficient to make up a great artistical epoch,
+that is, for France; yet as for its being an epoch without art,--such
+a thing as that, he would say France had not known since she was
+France. And he would be right.
+
+But if said of England it would be pretty nearly true, if it were said
+that the whole amount of art of the decorative kind that existed in
+England between 1810 and 1850, for instance, would fill but a small
+museum, and that its quality would fill but slight requirements, it
+would require a bold Anglophil to contradict. There came a dull pall,
+like that of her own black fogs, over social London, and the
+stucco-fronted languors of Baker Street and Portland Place are no
+worse than were the dull monotony of the interiors behind them.
+Veneered and polished mahogany furniture, very much too large and too
+heavy for the rooms; black haircloth, like the grave clothes of Art,
+for the covering of everything that could be sat upon; cold,
+brownish-red curtains, of shiny but not lustrous material; silver
+candlesticks of monstrous design,--these, and such as these, were the
+decorative objects which our fathers or our grandfathers admired, or
+felt that they must admire for want of better, during the unhappy
+years that I have cited. The delicate carvings that the furniture of a
+generation just previous had received, were forgotten. People put up
+with Chippendale chairs in their dining-rooms because they had
+belonged to their fathers and nothing special was offered to take
+their place; but there is no record that they cared for them. The
+richer and more fantastic carvings of Grinling Gibbons had never
+obtained any general recognition nor availed to modify the woodwork of
+the domestic interiors of England. The brocades and flowered silks
+which the eighteenth century had revelled in, and if in England not
+strong enough artistically to produce them itself, had brought into
+England from other lands;--these were replaced by the dismal things I
+have alluded to, and no vestige of them seems to have remained in the
+parlors of that unhappy time.
+
+Richness of costume had disappeared with the wars of the French
+Revolution. Embroidered silk coats had given place gradually to
+claret-colored and blue broadcloth, and this gave place to black, and
+all variety in costume had disappeared completely; and now, from 1810
+to 1850, fantastically varied and interesting house-furnishing and
+decoration had followed, as I suppose it inevitably must follow;
+costume, being, one fears, a necessary part of anything like a
+prosperous artistic epoch.
+
+Out of this gloomy depression the Anglo-Saxon world, in England and in
+this country, is trying to emerge. It began its efforts with the
+perfectly natural conviction that by studying the artistic history of
+the past, something could be done to benefit the arts of the present.
+The Gothic revival, which you have heard of so much, and which was
+followed with real ardor and with unquestioning zeal by crowds of
+devotees for years, beginning with, perhaps, 1840, was an attempt
+along the most obvious lines,--along what seemed to be the line of
+least resistance, to change the metaphor. To develop anew an old art,
+which had flourished so greatly in the past,--how easy! and how
+certain! How certain were the enthusiasts of that time, that by
+earnestly poring over and closely analyzing and heartily loving the
+buildings of the thirteenth and fourteenth centuries, such buildings,
+and others like them, could be built in the nineteenth! How happy was
+the conviction of all these men that it was not more difficult than
+that! The secret of what had been done was to be found in the
+phenomena themselves. There, in this parish church, in this cathedral,
+lay the secret of their charm. Let us analyze first, they said, and
+let us put together again the ingredients that our analysis shall have
+discovered, and we will re-create the thing that we are in search of.
+
+In like manner, in the minor arts, the people of 1850 felt, or some of
+them did, that they did not know how to weave curtains that it was
+worth any one's while to hang up, except to shut out the light and
+shut in the warmth; that so far as beauty of texture, beauty of
+pattern, and beauty of color went, they were powerless to produce
+anything of any avail. But they saw that the Venetians of the
+sixteenth century and the Florentines of the seventeenth century and
+the French of the eighteenth century had produced splendid stuffs; and
+although there were no museums in those days that condescended to
+anything so humble, such stuffs were still to be bought of the
+bric-a-brac dealers, and very cheap, too, and still existed, rolled up
+in some old garrets. By studying them, surely the art of making others
+like them could be learned. And so around the whole circle of the arts
+of decoration, it was believed, and in thoroughly good faith, and
+with, as it seemed, perfectly good reason, that the study of what had
+been would suffice, with zeal and patience and good will, to the
+production of what should be.
+
+Well, the experiment has failed. Archaeology is the most delightful of
+pursuits, but it is not particularly conducive of good art. The German
+professor, who knows the most about Phidian sculpture, is as far as
+his youngest pupil from being able to produce anything Phidian, but,
+of course, this is not a fair example. The German professor does not
+profess to be a sculptor. Let us say then, that that sculptor now
+alive who knows the most, theoretically and historically about Greek
+art, is as far as his most ignorant contemporary and rival from having
+Greek methods of work. This is a safe proposition. I do not know who
+he is, nor can any one tell me. It is not a question of men, but of
+principles. The study of the monuments of art is one thing, their
+analysis, their criticism, their comparison, is one of the most
+attractive, the most fascinating, the most stimulating, the most
+absorbing of studies, one that I shall never cease commending in the
+most earnest way to all those persons to whom scholarship is dear and
+to whom it is a question of recommending a study which is worthy of
+their most earnest and hearty devotion, but it is not the study of
+practical art, that is another and a very different thing.
+
+The way to make good sculpture is to let the youth thumb and punch and
+dabble in wet clay, and see what he can make of it; and the way to
+make a painter is to give the boy now a burnt stick, and at another
+time a pin and a back of a looking-glass, and see what he can
+delineate with such materials as these and with all other materials
+with which a line can be drawn. To look at the world, and what it
+contains, and to try and render what is suggested to him,--that is the
+training for the artist, and it has more to do with our beloved study
+of archaeology than if they were not concerned with the same subject.
+This, I say, has been proven. Sad experience, the waste of forty years
+of work, disappointment and despair, have taught some of our artists
+what others did not need to learn,--that the way to succeed was not
+through study of the past. The artist has no primary need of
+archaeological knowledge; the archaeologist has no need of any fact that
+the artist can furnish him with.
+
+Suggestions; yes! Each side can furnish the other with suggestions in
+abundance, and suggestions which each can immediately profit by. An
+able artist, if a fellow of modesty and frank speech, can hardly talk
+without giving the student of the theory of art hints which the latter
+should study over at home before he sleeps upon them; for the secret
+of much that is vital and essential in his study is to be found in
+these hints; and on the other hand, I imagine that an artist would be
+better off, and have more play of mind, and readier and fresher
+conceptions, if he would now and then listen to what the student of
+old art has to tell him about what is to be observed in this or that
+monument of the past. But beyond that there is no connection between
+them. I will run two _ateliers_ side by side, one for archaeologists,
+and one for practical students of architecture and they need never
+mix.
+
+This will be more readily admitted, perhaps, in the case of the arts
+of expression than in the case of arts of decoration and let us define
+these terms. If you will allow me, I will quote from an address
+delivered a year ago before the New York Architectural League. Any
+work of art whose object is to explain and express the thing
+represented, or to convey the artist's thought about the thing
+represented, is art of representation, or, if you please, art of
+expression, or if you please, expressional art. I offer these as
+nearly synonymous terms. But if, on the other hand, the work of art
+has for its object the adornment of a surface of any sort, as a
+weapon, a utensil, an article of costume, and if the natural objects
+represented or suggested are used only as suggestions to furnish
+pretty lines and pleasant tints, which lines and tints might have been
+after all represented apart from the object were man's mind more
+creative than it is,--that is art of decoration.
+
+Now, architecture, you see, is primarily an industrial affair, a
+method of covering men in from the rain, and admitting light into
+their protected interiors, and of warming those interiors, and in a
+few rare cases of ventilating them, and in providing a variety of
+apartments, communications, and the like for the varied requirements
+of a complicated existence; and it need not put on any artistic
+character at all. But as architecture becomes a fine art, it is
+perforce one of the arts of decoration. It has nothing to do with the
+arts of expression. Mr. Ruskin and all his life work to the contrary,
+notwithstanding, the business of building is not to tell tales about
+the world and its contents, not to set forth the truths of botany or
+of zoology, or of humanity, or of theology. If zoological or botanical
+or human objects are introduced, or representations of them, it is not
+for the sake of information that can be given about these interesting
+things, nor for the sake of expressing the artist's mind about them,
+nor for the sake of saying anything whatever in regard to them. It is
+for the sake of making the building beautiful. When the Oxford Museum
+stood presenting to the street a flat-fronted wall, diversed with
+pointed arches, and carvers were set to work bands of rich sculpture
+around the windows; although Mr. Ruskin had a great deal to do with
+that edifice, and architects of his own choosing were in charge of it,
+and clever Irish workmen of his own approval were producing the
+interesting carvings of those archivolts and tympanums, in spite of
+all theories, the object aimed at and the object attained by that
+outlay of time and money and skill was the beautifying of the
+building, and this was achieved to an extent probably beyond what its
+planners proposed to themselves, for the effect of well-applied
+sculpture upon a building is beneficial to an extent that would never
+be believed by one who has not often watched the changes that can be
+wrought in this way. They who have said that the Gothic Cathedral is
+nothing but a work of associated sculpture are not far wrong, and to
+produce a lovely building, one would rather have the blankest
+malt-house or brewery in New York, and some good carvers set to work
+upon it, than to have the richest architectural achievement of our
+time, devoid as it is and must be of decorative sculpture. For to get
+decorative sculpture, you must have your sculptors; and they, you
+know, are wanting. Where are the men who will model capitals and
+panels in clay, with some sense of ornamental effect? We have the men
+who can make a copy in relief of an architect's drawings: but then the
+architect, even if he have the sense of ornamental effect, in the
+first place can never draw out, full size and with care, all the work
+required in a rich building, and, in second place, can never design
+sculptured form aright by mere drawings on the flat. The architects of
+New York and Brooklyn are employing today, I suppose, 3,000
+draughtsmen, of which number two or three hundred at least are engaged
+most of the time in making large scale and full-size drawings of
+architectural detail, in which sculpture plays a large part. Well, we
+need as many modellers, who, either in architects' offices, or in
+stone-cutters' yards and terra-cotta works, shall be putting into
+tangible form the dreams and thoughts of the designer's brain. "As
+many," do I say? Once it is found that architectural sculpture can be
+got promptly and cheaply, and conveniently, it is not 200 modellers
+only that this big community around the big bridge will need; but
+architects will engage three or four or a dozen at a time, as they now
+engage draughtsmen when big jobs come in.
+
+For so the relative success and power today of the arts of expression
+seem to assure us. When we come to look into the subject, we find that
+modern life, which finds its expression freely in prose and in verse,
+and to a slight extent in music, finds some expression also in those
+arts which deal with expression. It is perhaps not a great artistic
+epoch that we are living in, although, if some one were to rise by and
+by, and maintain that it was, I would not be sure that he was wrong.
+It is certainly a kind of novel and in many ways admirable art in the
+way of expression. Great thoughts have found expression almost worthy
+of them in painting, in sculpture, in etching, in wood-engravings, in
+color and in black-and-white; in the single costly work of art and in
+the easily multiplied and cheap productions of the press. It is true
+that in these the thoughts are not always worthy of the expression
+they receive. This is partly because we have nearly lost the desire of
+talking about our religious beliefs in line and color and modelled
+form, and that no other subject of equal universal interest has taken
+the place of the ancient, simple and popular theology.
+
+Patriotism, as shown in scenes of battle and pictures of deeds of
+gallantry and self-sacrifice; poetry, as seen in pictures which
+suggest sweet thoughts of young love and of home affections and of
+childish grace; the love of wild nature, as seen in our school of
+landscape art, now nearly fifty years old and flourishing--none of
+these nor all of them together have quite replaced the priestly
+theology of the Middle Ages as a subject for art, for none are quite
+so universal or appeal quite so readily to the untutored eye and mind.
+And so the uniform is better painted than the soldier very often, and
+the outside of nature than her inward spirit, and the flesh of the
+baby or the golden hair of the girl better than the baby nature or the
+girl nature in each instance. But this is to be stated merely as a
+drawback from praise which would otherwise be too unmeasured and too
+universal. The world contains a vast amount of good art of very recent
+date, and every year adds to the amount. The worst thing that can be
+said of the time is that it should be capable of producing so
+incalculably great an amount of bad art at the same time; that the
+walls of the Paris _Salon_ should be so hung with inferior work every
+year that the important pictures are lost in chaos; and that, while
+this is true of the _Salon_, it is true to an immeasurably greater
+degree of the Royal Academy, of the New York Academy and every other
+exhibition in the world, except where a selected few paintings hang on
+reserved walls.
+
+And as for sculpture, that is to say expressional sculpture, it is
+even more true in this case that the poor works terribly outnumber the
+good ones, though this is less noticed and makes less impression on
+the public. Our English-speaking communities do not even think of
+sculpture as a thing to look to for any refined enjoyment. How far the
+labors of a dozen living men, all Frenchmen but two or three, may have
+sufficed during the past score of years to change the public mind in
+this matter, I am not ready to say; but, surely, it has not been the
+general thought that sculpture is anything more than an expensive and
+perfunctory way of doing one's duty to a great occasion or a great
+man. This, however, is temporary. The good sculpture exists and will
+be recognized. So much for expressional art.
+
+But, as for the arts of decoration, once more, there is not so much to
+be said. As yet the way to subdue technicalities and enthrone design
+has not been discovered. The way to produce beautiful buildings is
+known to none. The way to produce good interior decoration, good
+furniture, good jewelry, beautiful stuffs, has only been seen by here
+and there one, and his lead no one will follow. The fact of his having
+done a fine thing, or of his doing fine things habitually, acts not as
+an attraction to others, but as a warning to them to keep off. Every
+artist strives to do, not as his neighbor has done, and better, but as
+his neighbor has not done. The potteries work no better, because of
+one pottery which turns out beautiful work. The wall-paper makers
+still copy, slavishly from Europe and Japan, fortunately if they do
+not spoil in copying, in spite of the occasional production of a
+wall-paper which an artist has succeeded in. The carpet-weavers
+caricature Oriental designs by taking out of them all movement and
+spirit, while their best customers buy the original rugs. If some rich
+man were to make a museum of modern decorative art, from which he
+would carefully exclude all that which was not in some way fresh and
+intelligent, and if not good, at least promising, a room like this one
+would hold all his trophies, even though he should use his millions to
+ransack Europe and America. It is nobody's fault, least of all is it
+the architect's fault. For see what you expect of an architect. He
+must know about digging deep holes; and about sheath-piling, that he
+may retain the loose soil and keep it from smothering the workmen at
+the bottom of his excavation; and he must know the best machines to
+use for drilling rock and the best method for removing it; he must
+know about all the stones in the country and the best way of making
+concrete; he must be familiar with the thousand new inventions, and
+discriminate carefully and rightly between this range and that, and
+between this form of trap and the other, between a dozen different
+steam-heaters and twenty systems of ventilation; he must be prepared
+to give his owners exactly what they want in the way of windows and
+chimney-corners, of cupboards, shelves in available corners, and
+recesses to put away step-ladders and brooms. But observe that if he
+fails in any one of these things, he will fail in that which his owner
+really cares about; still more, if he fails in the economical
+administration of the funds allowed for the building, will he fail in
+that which the owner most cares about. Less beauty, less success in
+producing a novel, an original, a thoughtful, a purposeful design will
+hurt him but little, but insufficient care as to the circulation of
+hot-water will ruin him.
+
+Now, no man can do all that, and still produce delicate and thoughtful
+designs. No man can be busy laying out work, superintending work,
+explaining to contractors and reasoning with employers, and still be
+producing delicate and thoughtful designs. An extraordinary fellow
+here and there may surprise us by what he does under such
+circumstances, but it will be but little and feeble in comparison with
+what he might do. The community must see its way to paying some to
+eschew plumbing and stick to design, if they mean to have any design.
+This has been done, indeed, in the matter of monumental-glass, and to
+a certain extent in wall-decoration by means of painting; but it must
+be done in what is more vital yet--in architectural sculpture of all
+sorts and all grades; of vegetable, animal and human subjects; in low
+relief, in high relief and in the round; in detached work and
+associated groups--or no architecture for us. I say, then, that as
+things are constituted, the architects are not particularly to blame
+for not having achieved much in the way of decorative art, either on
+the exteriors of their great buildings or in the beauty of their
+interiors. Not much to blame; but yet they are so far to blame as that
+no one else is to do this work if they do not. The architects and the
+artists who are associated with them in the work of supplying us with
+what we call decorative arts of all sorts, form the only class of the
+community to whom the rest of the community can look to for
+advancement in this direction. It is probable, then, that what such an
+associate has to do is two-fold; or rather it has two things to do:
+One is to study the beautiful art of the past, and to study it
+patiently and lovingly, feeling confident of this that the interests
+of the pursuit grow more absorbing every day; and the other is to
+watch the arts of the present, and to keep an open and perspective
+mind with regard to them, feeling sure of this that they will grow
+more complex and interesting every day, and that now and again some
+chance of something good will appear, here and there, giving us great
+opportunities to help, if we are clever enough to perceive them.
+
+The study of the arts of the past is more entrancing every day because
+we are so much better informed, because we are daily better informed
+about them. Archaeology, having gone through a long apprenticeship, is
+doing wonders today; and, although ancient buildings are suffering
+from the accursed restorer, they are also more thoroughly known, more
+rightly judged, more sympathetically analyzed than ever before; while
+monuments other than buildings, those, that is, that are not open to
+the attacks of the restorer, are preserved in practical safety, and
+they also are minutely and honestly studied in a way of which our
+ancestors knew nothing. There is, therefore, more pleasure to be got
+out of the study of ancient art today than ever before, and that
+condition of things is a permanent one. Our children will have even
+better opportunities than we.
+
+And, as for the arts of the present, the arts that are being produced
+around us, they are to be looked at as calmly and temperately; with,
+on the other hand, as little as possible of that provincial which
+makes cathedrals out of carpenters' Gothic churches, and, on the other
+hand, without carping, but with good-natured patience, with a feeling
+that if things are not very good, they can hardly be expected to be
+better; that we, in this country at least, are only half-civilized in
+the ways of cultivation, and we do uncommonly well for such babes as
+we are in literature and art. With patience then, and with impatience
+about nothing but this, that we deny ourselves the study of the great
+works of art of Europe and Asia by thirty per cent and forty per cent
+and sixty per cent duty, and deny to the author all proper
+remuneration for his work by the lack of common honesty. No other
+nation of European blood does these things. It is not a matter of
+politics. No protectionists so ardent in the Bismarck ranks as to
+propose to levy a tax on literature and science. No selfish grabber so
+small, even among peoples whom we consider less honest than we, who
+approves of stealing an author's books under color of the law. While
+we send to Washington Congressmen who keep such laws on the
+statute-books, our community is not "barbarous" so much as savage; for
+such acts are the acts of savages; that is, of men who have no
+reasonable motive for their acts, but act impulsively, like grown-up
+children.
+
+And now, after this evening, let us return from theory and general
+principles, to practice and details, and see whether we can find out
+how it is that Indians combine color, how Japanese use natural form
+decoratively, how Chinamen make porcelain lovely and noble; how Greeks
+of old time have sculptured and Frenchmen have created Gothic
+architecture, and Italians have raised painting to the highest heaven
+of achievement. There is happiness, if study can give it. And for
+those to whom scholarship is less attractive than action and
+production, there is sculpture in small and large, in stone, marble,
+terra-cotta, wax, clay, plaster, bronze, iron, lead, gold and silver;
+there is inlay of all material and styles, from square tiles to minute
+glass tesserae; there is painting with all known vehicles and of all
+sorts; the whole to be devoted to the beautifying of buildings in
+which we have to live and work and rest. There is a plenty to do for
+those who know how to begin.
+
+       *       *       *       *       *
+
+TO PROTECT PLATE-GLASS IN BUILDING.--Passing along Dearborn Street,
+recently, I saw a crowd watching closely the placing in position of
+some enormous panes of glass in a handsome new building. The glass was
+the best French plate, and the workmen handled it as carefully as if
+it were worth something more than a week's wages. The task of putting
+it in place was no sooner completed than one of the workmen grabbed a
+pot of whiting and with a big brush daubed a lot of meaningless marks
+on it. I thought it about as silly a thing as a man could do, and with
+the usual reportorial curiosity asked the foreman why he allowed it.
+The answer was a crusher. "Why," said he, "we have to mark them in
+that way or they'd be smashed in no time." My look of amazement
+doubtless prompted him to further explanation, for he said: "You see,
+the workmen around a new building get in the custom of shoving lumber,
+etc., through the open sash before the glass is put in. They would
+continue to do it even after the glass is in if we didn't do something
+to attract their attention. That's the reason you always see new
+windows daubed with glaring white marks. Even if a careless workman
+does start to shove a stick of timber through a costly plate of glass
+he will stop short when his eye catches the danger sign. That white
+mark is just a signal which says, 'Look out; you'll break me if you
+are not careful.'"--_Chicago Journal._
+
+
+
+
+THE STRUCTURE OF SANDSTONE.[1]
+
+AS AFFECTING ARCHITECTURAL AND ENGINEERING WORKS.
+
+
+[Illustration]
+
+The native stones we Liverpool architects have at command are all
+sandstones belonging to the geological division called the Trias, or,
+in older phraseology, the "New Red Sandstone," which lies above the
+coal-measures. The term "New Red" was given to distinguish these rocks
+from the "Old Red," which lies below the Mountain Limestone, the
+lowest division of the carboniferous rocks. It is, perhaps, needless
+to remark that the "New Red" is not always red; sometimes it is
+yellow, at others, like some of the Storeton stone, white. These red
+rocks occupy a large part of Lancashire and Cheshire, and especially
+in the latter county give the characteristic scenery which
+distinguishes it. The escarpment of the Peckforton Hills of which
+Beeston Castle Hill is an outlier, and that at Malpas, farther south,
+gives rise to some very beautiful scenery; and again at Grinshill and
+Hawkstone, in Shropshire, we have a repetition of much the same kind
+of landscape. It will be necessary for my purpose to say briefly that
+these red rocks have been divided into the "Bunter" and "Keuper"; the
+lower division, the Bunter, occupying most of the ground about
+Liverpool; the upper, the Keuper, being more developed on the Cheshire
+side. All these sandstones are not fit for building purposes, and
+those that are so used differ considerably in their durability. It is
+my object in this short Paper to show upon what the perfection or
+imperfection of the various stones for building purposes depends--a
+matter of great moment to an architect or engineer who is desirous
+that his work should last.
+
+Sandstones, or, in masons' language, "free-stones," from the freedom
+with which most of them are worked when freshly taken from the quarry,
+are plastic or sedimentary rocks. That is, they are composed of
+separate particles which have once existed as sand, like that we see
+on our own shores, or in the sand dunes of Hoylake or Crosby.
+Sandstones are usually more or less laminated, and are stronger to
+transverse stress at right angles to their natural bedding than in any
+other direction, a fact recognized in every architect's specification,
+which states "all stones must be laid on their natural bed," a
+direction that unfortunately sometimes begins and ends in the
+specification. The cause of the superior strength is not, however,
+generally understood.
+
+I have devoted some considerable time to an investigation of the
+internal structure of sandstones, which I have communicated from time
+to time to various scientific societies and publications, and will now
+briefly explain it in a manner I judge will be most likely to interest
+architects and engineers. The particles or grains of which the rock is
+built up are of various forms and sizes, from a thoroughly rounded
+grain, almost like small shot, to a broken and jagged structure, and
+to others possessing crystalline faces. These grains, most of them
+possessing a longer axis, have been rolled backwards and forwards by
+the tides or by river-currents. The larger grains naturally lie on
+their sides when freshly deposited, with their axes in the plane of
+bedding; the smaller and more rounded particles naturally tend to
+occupy the interstices between the others, and in this way rude
+divisional planes or laminations are formed. Each layer forms a sort
+of course like coursed-rubble in a wall, and by the necessities of
+deposition a certain rude geometric arrangement results, by which the
+particles of the future rock overlap each other, and thereby gain what
+is known to architects as bond.
+
+But, so far, this is only like "dry walling," the mass wants cementing
+together to make it solid. The cementing process happens in this way
+in our rocks, which are almost purely silicious: Water containing a
+minute quantity of carbonic acid in solution, which most rain-water
+does, especially when it comes into contact with decaying vegetation,
+has the power of dissolving silica to a slight extent. This is proved
+in various ways, and is shown in the fact that all river water
+contains more or less silica in solution.
+
+The circulation of water through the sand deposit of which our rocks
+are made dissolves part of the grains, and the silica taken up is
+redeposited on others. I cannot explain the chemical reaction that
+produces this deposition, but that it takes place in the rock during
+some period of its history is certain. I exhibit a quartzite pebble
+taken from the Triassic sandstone at Stanlow Point, which, as can be
+easily seen, was at one time worn perfectly smooth by attrition and
+long-continued wear, for the quartzite is very hard. Upon this worn
+surface you will see spangles and facets which reflect the light, and
+on closer inspection it will be evident that they are crystals of
+quartz that have been deposited upon the surface of the worn pebble
+after it became finally enclosed in the rock.
+
+A microscopic examination of the granules of the rock itself will show
+that many of them have had crystalline quartz deposited upon their
+surfaces, and in some cases rounded grains have in this way become
+almost perfect crystals.
+
+An examination of the best sandstones for building purposes shows that
+they possess more of these crystalline particles than the inferior
+ones, and a good silicious sandstone shows its good quality by a fresh
+fracture sparkling in the sun. In addition to these crystalline
+deposits of silica I believe it exists also as a cement which binds
+the particles together when in contact.
+
+It certainly is, however, with this secondary silica that the original
+sand has become a building stone, and the particles have become
+interlaced and bound together. Thus, in building parlance, the grains
+are the rubble of the wall, the currents the quarrymen, masons and
+laborers, and the silicious infiltration the mortar.
+
+And now, when I am on the subject, I may point out that this hard and
+compact quartzite pebble was also once loose sand. The only difference
+between the sandstone in which it was imbedded and itself is that in
+the latter case the process of silicious deposit has gone further, so
+that all the interstices between the grains have been absolutely
+filled up with the cement.
+
+It is not possible to see this clearly with the naked eye, but by the
+aid of a slice of the rock prepared for the microscope the granular
+structure of the quartzite is made perfectly plain. So much for the
+mechanical, chemical, and molecular structure of sandstone, all of
+which affect the strength and quality of the stone; but to architects
+there is another element of consequence, namely, the color. The rich
+red of our Triassic sandstones is due to a pellicle of peroxide of
+iron coating each of the grains. That this is merely surface coloring
+is shown by the fact that hydro-chloric acid will discharge the color
+and leave the grains translucent. Unfortunately the most brilliantly
+colored stone is not the most durable, and it so happens that these
+brilliant red sandstones are often composed of exceedingly rounded
+grains. Also some of the very red sandstone has an interfilling of a
+loose argillaceous irony matter detrimental to the stone as a building
+stone. The most durable of the red sandstones are those having a paler
+or grayer hue, like those of Woolton, Everton, and Runcorn. This
+distinction of color was brought freshly to my mind a short time since
+in looking at the church of Llandyrnog, in the Vale of Clwyd, a few
+miles from Ruthin. Some of the dressings, quoins for instance, were of
+a very brilliant-colored red sandstone, and others of a pale gray or
+purple red. It struck me that these latter must be of Runcorn stone,
+which I was afterwards informed was the case. The very red stone was
+the natural stone of the Vale, originally used for dressings, which
+were replaced, on the restorations being made, with Runcorn stone. The
+original stone was aesthetically the best, but the introduced stone the
+best structurally. The old stone of Chester Cathedral was a very red
+Bunter sandstone, which decayed badly. It has been replaced in the
+restorations by Runcorn stone, which belongs to the Keuper division,
+which has caused the Geological Surveyors to say that the Keuper is a
+better building stone than the Bunter. In this case it is; but, on the
+other hand, the Bunter sandstones, or Pebble-beds, as they are called,
+near Liverpool, are often better than the Runcorn Keuper. The Runcorn
+building stone lies between two beds of very red loose rock, showing
+that it is not its geological position, but its _structure_, that
+makes it a good durable stone.
+
+It is a remarkable fact that most of the pebbles included in the red
+rocks are quartzites, or indurated silicious sandstones; and, as
+showing that their solidity and hardness are due only to a further
+continuance of the deposit of silica in the interstices, it has been
+proved that the purple quartzites are purple only by reason of the
+original coloration of the grains which have been enclosed between the
+original grains and the secondary silica. Yellow sandstone is colored
+also by iron, and I have frequently seen the red sandstone shading of
+to the yellow without any division whatever. The various shades and
+tints of sandstone are necessarily due to the coloration of the
+individual grains.
+
+Most of you will, no doubt, have observed the sort of marbling or
+grain upon the stone of our old buildings, such as the Town-Hall,
+which I believe was obtained from quarries occupying the site of the
+St. James's Cemetery. This is due to what is called current bedding;
+that is to say, the grains have been arranged along oblique lines and
+curves instead of in parallel laminae. This stone, which is
+geologically equivalent to the Storeton Stone, and of the same nature,
+has stood very well. Some of the Storeton Stone, if free from clay
+galls, although very soft when quarried, becomes hardened by exposure,
+and will stand the weather much better than a harder and more
+pretentious material.
+
+The stone of Compton House is in a very good condition, although the
+mason told me such was the hurry in rebuilding that they could not
+stop to select the stone, and also that it is placed in all sorts of
+positions with respect to its quarry bed. Perhaps the circumstances
+that the stone is not in parallel laminae may have something to do with
+its durability, notwithstanding this latter fact.
+
+It would take a long Paper, and several evenings, to exhaust the
+subject even of our local stones. I may mention, however, that the
+quarries of Grinshill, between Shrewsbury and Hawkstone, yield a
+beautiful white sandstone, of a finer grain than Storeton, but of a
+similar quality.
+
+Most of the public buildings of Shrewsbury are built of it, and I am
+informed that it was to some extent used in the Exchange buildings.
+The rocky substratum of a district can be well seen in its ancient
+buildings, for in old times carriage was so important an item that the
+old builders could not go far for their stone; hence we see that the
+old churches of part of Lancashire and most of Cheshire, and a large
+portion of Shropshire, are of red sandstone. Some of it has stood very
+well, while some has decayed into shapeless masses. There is a
+tendency to exfoliate parallel to the exposed or worked surface, in
+all stones, irrespective of the way of the bed, but more so where the
+stone is set up on edge, or at right angles, to its quarry bed. It is
+interesting and peculiar to see in some of the old buildings erected
+with pebbly sandstone how the white quartz pebbles stand out from the
+surface like _warts_. This is due to the greater indestructibility of
+the quartz pebbles, and the weathering away, or denudation, of the
+sandstone face.
+
+Before leaving the subject of local sandstones it will be necessary to
+refer to one quality they have which is of excellent utility as
+regards the storage of water, but which is decidedly a disadvantage in
+building stone--that is, their porosity. I have proved by actual
+experiment that a cubic foot of Runcorn Stone will take up three
+quarts of water by capillarity, and that it is possible to make a
+syphon of solid sandstone which will empty a vessel of water into
+another vessel by capillarity alone.[2] This shows the absolute
+necessity of damp-proof courses, not only in the main walls of
+buildings of stone, but even in fence walls, for the continual sucking
+up of moisture from the earth, and its evaporation at the surface of
+the stone, make it rapidly decay. I think I could show you this fact
+in almost any stone building in Liverpool or elsewhere where the stone
+is in direct connection with the earth. It also shows the necessity of
+taking care that no stones go through the wall to the interior
+surface, and of precautions for backing up stone walls with less
+porous materials, or the introduction of a cavity. If you could
+suppose such a sandstone wall 40 feet long, 20 feet high, and 1 foot 6
+inches thick fully saturated, it would hold almost a ton of water! Of
+course, it never would be fully saturated, because of the evaporation
+from the surfaces, but with a southwest aspect, and very wet weather,
+it might become half saturated. But what does evaporation mean? It
+means the loss of so much heat and the burning of so much coal to
+supply its place. From this it will be seen that a pure sandstone wall
+is a thing to be avoided.
+
+The subject is so wide a one that I have felt compelled to restrict my
+remarks to local sandstones, but the general principles of structure
+apply to all sandstones alike.
+
+It is difficult by written description to tell you how to select a
+good stone, but one essential is that there shall be a good deposition
+of secondary quartz, as shown by the crystalline sparkling on the
+freshly fractured surface.
+
+It must also be free from very decided laminations, for these
+constitute planes of weakness and are often indications of the
+deposition of varying materials, or the same material in various
+grades of fineness. It must also not be full of argillaceous and
+iron-oxide infillings. It should possess a homogeneous texture. The
+best way to study building stones is to study them in old buildings,
+for nature has then dissected their weaknesses.
+
+FOOTNOTES:
+
+[1] Read before the Liverpool Architectural Society, on the 18th
+November, 1889, by Mr. T. Mellard Reade, F.S.G.S. _Fellow_,
+President of the Society, and printed in the _R.I.B.A. Journal_.
+
+[2] This experiment was made before the audience.--T. M. R.
+
+       *       *       *       *       *
+
+WARFARE ON OAK TREES.--"The world seems to have waged a special
+warfare upon oak trees," says a St. Louis man. "Before iron ships were
+built, and that was only twelve years ago, oak was the only thing
+used. When this drain ceased oak came into demand for furniture, and
+it is almost as expensive now as black walnut. No one feels the
+growing scarcity of oak like the tanner, and the substitution of all
+sorts of chemical agencies leads up to the inquiry as to whether other
+vegetable products cannot be found to fill the place of oak bark. The
+wattle, a tree of Australian growth, has been found to contain from
+twenty-six to thirty per cent of tannic acid. Experiments have been
+made on the Pacific Slope, where the wattle readily grows, and in a
+bath of liquor, acid was made from it in forty-seven days, whereas in
+liquor made from Santa Cruz oak, the best to be found in all the
+Pacific States, the time required is from seventy-five to eighty days.
+The wattle will readily grow on the treeless plains of Texas, New
+Mexico and Arizona, the bark of which ought to yield five dollars per
+acre counting the fuel as nothing."--_Invention._
+
+
+
+
+THE BARYE EXHIBITION.
+
+
+[Illustration]
+
+Entering the handsome galleries of the American Art Association, one
+finds the lower floor given up to the Barye bronzes, while the upper
+rooms are devoted to the "Angelus" and the paintings by Millet and
+other contemporaries of the great French sculptor. Passing on the left
+of the entrance the superb, large bronze of "Theseus battling with the
+Centaur," one is fronted by the great cast of the "Lion and Serpent,"
+which from the centre of the gallery dominates the surrounding
+exhibits. Both of these are the property of the Metropolitan Museum of
+Art, the cast having lately been presented to that institution by the
+French government. Upon the right hangs Bonnat's vigorous portrait of
+Barye, on the left wall one sees the water-color of the "Tiger Hunt,"
+and all around are cases, groups and isolated pieces of the bronzes.
+
+Here are over 450 works in wax, plaster and bronze, of which Mr. W. T.
+Walters contributes one-fourth, while the Corcoran Gallery sends its
+entire collection, numbering nearly a hundred, Mr. Cyrus J. Lawrence
+loans sixty-two pieces, Mr. James F. Sutton fifty-two and Mr. Samuel
+P. Avery thirty. Other contributors, who have followed their generous
+example, are Messrs. R. Austin Robertson, Theodore K. Gibbs, Robert
+and Richard M. Hoe, James S. Inglis, Richard M. Hunt and Albert
+Spencer. Of many of the subjects there are several copies, and
+amateurs can study proofs and patinas to their heart's content. From
+Mr. Walters's famed collection are the four unique groups modelled for
+the table of the Duke of Orleans, chief of which is the "Tiger Hunt,"
+where two of the huge cats attack an elephant from whose back three
+Indians defend themselves with courage. The giant pachyderm writhes
+his serpent-like trunk in air and plunges forward open-mouthed,
+trumpeting with pain from the keen claws of the tigers hanging on his
+flanks. The Hunts of the Bull, the Bear and the Elk are worthy
+companions of this magnificent bronze, offering wonderfully fine
+examples of condensed composition in the entwined bodies of men and
+beasts, and filling the eye with the grand sweeps of their circling
+forms. The same liberal patron of art also lends his unique piece of a
+walking lion, in silver, made in 1865 for a racing prize, and a
+plaster-proof of the little medallion of "Milo of Crotona attacked by
+a Lion," executed by Barye in 1819 for the Prix de Rome competition at
+the Ecole des Beaux-Arts. This little gem, worthy of the antique, did
+not secure the prize, however, which went to a now-forgotten sculptor
+named Vatinelle. It had often been so before, it has often been so
+since down to our day (Comerre was preferred to Bastien Lepage in
+1875) and doubtless it will be so for who knows how many years to
+come.
+
+All the phases of that terrific struggle for existence where beast
+hunts beast, which have been depicted by Barye's genius, are here.
+Here is the "Tiger devouring a Crocodile" (with which Barye made his
+first appearance at the _Salon_, in 1831); the "Jaguar devouring a
+Hare"; the "Lion devouring a Doe," the "Crocodile devouring an
+Antelope," the "Python swallowing a Doe," the "Tiger devouring a
+Gazelle," the "Bear on a tree devouring an Owl" and the "Lion
+devouring a Boar." What a series of banquets on blood and warm, almost
+living flesh is here presented! How cruel these creatures are to each
+other, is the thought that first comes to us, but a second, reminds
+that it is but their instinct and a necessity of natural law, and
+repulsion is lost in astonishment and delight at the marvellous
+fidelity with which the sculptor has rendered these links in the great
+chain of animal life. Their (as we call it) savage eagerness, their
+almost blind rage for their appointed food, the tenacity with which
+they clutch and the ravening _anxiety_ (caused by the dread of losing
+their prey) with which they tear the flesh of their victims, is
+portrayed to the life. We speak of a death-grip, but here is a death
+and life grip--death to the victim whose palpitating body furnishes
+life to its destroyer. It is the hot-cold-bloodedness of nature, the
+disregard for suffering of the tornado, the earthquake and the
+avalanche shown in little in the fangs and claws of these wild
+creatures. Then there are the battles of the more evenly-matched
+animals--not always as a result of the need of sustenance--such are
+the tiger transfixed by the elephant; the python's folds crushing the
+crocodile; and the bear dragging the bull to earth, or itself, in
+turn, overthrown by mastiffs. Then comes those groups into which man
+enters--the African horseman surprised by a great serpent whose
+formidable folds already enclose his struggling body; the Arabs
+killing a lion; and the "Theseus overcoming the Minotaur," wherein the
+calmly irresistible hero is about to bury his keen, short sword in the
+bull-neck of the gross monster. The success with which Barye has
+combined the human and bestial characteristics of the minotaur is most
+remarkable and a similar triumph is won in the hippogriff--the winged
+horse, with forefeet of claws and beaked nose, which leaps so swiftly
+over the coiled-shape of the dolphin-serpent, which serves for his
+pedestal--bearing upon his back the charming, nude figure of Angelica
+held in the mail-clad arms of Ariosto's hero. To this category _seems_
+to belong the "Ape riding a Gnu," the forms, however, being true to
+nature though appearing fantastic when placed in juxtaposition.
+
+The horse as we know him, and carrying more familiar burdens, is shown
+in numerous equestrian statuettes, the best of which is the slender,
+nervous figure of Bonaparte as First Consul, mounted on a
+proudly-stepping Arab. There is another one of Napoleon, showing him
+at a later period of his life, and the other equestrian portraits
+include one of the Duke of Orleans, who looks every inch a gentleman;
+one of Gaston de Foix, the hero of Ravenna; and one of Charles VII.
+Then there is a spirited statuette of a Tartar warrior in chain armor
+sharply pulling back his steed, and a graceful figure of a lady
+wearing the riding-dress of 1830. A painful contrast is presented by
+the doomed horse unwillingly carrying a lion whose dreadful grip his
+frantic rearing cannot loosen. In addition there are many studies of
+horses, various in breed and attitude, and the small wax model of a
+young man mastering a horse which though but a rough "first sketch"
+has all the "go and fire" possible. It would have been of interest if
+some illustration of Barye's equestrian monument of Napoleon at
+Ajaccio could have been shown, and this reminds me that except a
+photograph of the Chateau d'Eau at Marseilles, showing the four groups
+of animals designed by him (which Mr. Cyrus J. Lawrence was thoughtful
+enough to send), and the two reclining river-gods from the Louvre
+(sent by Mr. Walters), there is nothing which gives any idea of
+Barye's public work. Not even photographs of the War, Order, Glory and
+Peace groups of the Louvre, which could have easily been taken from
+the copies given by Mr. Walters to Baltimore, now on Mount Vernon
+Place, are present. But, in face of the admirable collection here
+gathered together, this may savor of ingratitude, and I will return to
+the consideration of the remaining sculptures.
+
+Among them are some masterly pieces of decoration, the most important
+being the superb candelabra made for the Duc de Montpensier. These
+have seated at their base nude figures of the three chief goddesses of
+classic mythology, whose noble proportions and purity of outline prove
+the versatility and completeness of the sculptor's art. Juno is
+accompanied by her peacock and bears the rod of power; Minerva lifts a
+sword, and Venus holds the golden apple. The candelabra are further
+enriched with masks and chimeras, and bear at their top a charming
+circular group of the three graces, small undraped figures, with arms
+entwined and faces turned toward each other. The general design and
+exquisite detail of this work is worthy of the Renaissance. There are
+some more candlesticks and other works of decorative art, all of which
+bear the marks of a master-hand.
+
+The humorous side of things is presented by some of the groups: in the
+ungainly figure of the elephant of Senegal running; in the bear lying
+on his back in a trough and eating with great gusto some sweet morsel
+which he holds between his paws; and in the meditative stork standing
+on the back of a turtle. Some of the animals are shown as sleeping or
+reclining, and there is a cat sitting, a goat feeding, a deer
+scratching its side and a pheasant walking, among others, but the
+tragic note is struck in most of them. Probably the best works are to
+be found among those pieces representing members of the feline race,
+which were always the subject of Barye's most thorough study. The
+sculptures of horses are also very numerous, and it strikes one at
+first as curious that, after all the rebuffs he received from the
+academic faction, who recognized no animals but the horse and lion as
+worthy of representation in sculpture, he should have modelled so many
+of these very creatures. But, after all, Barye's lions and horses
+belong to an entirely different race from those which the
+tradition-bound old fogies were pleased with. The collection embraces
+many admirable bronzes of birds: an eagle holding a dead heron; an owl
+with a rat; a paroquet on a tree, and a strikingly fine composition of
+a hawk killing a heron; and there are some beautiful studies of dogs,
+especially a large seated greyhound, belonging to Mr. Walters. There
+are rabbits, badgers, wolves and camels, but I remember no cows or
+pigs, and only one group of sheep. Wild life, much more than domestic,
+touched the sympathies of Barye.
+
+Mr. Walters loans twenty-three of Barye's powerful water-colors of
+animals and a fine oil, of unusual size for this artist, of a tiger.
+One of the most striking of the water-colors shows a great snake
+swallowing an antelope, whose head is partly engulfed, and it is
+almost exactly the same as one of the bronzes from the Walters
+collection. Other gentlemen have contributed water-colors and
+oil-paintings by Barye, among them being several landscapes at
+Fontainebleau, and there are various etchings and prints after his
+works and some of his lithographs, pencil-sketches and autographs,
+with a copy of the only etching--a stag fighting a cougar--which,
+according to so good an authority as Mr. Avery, he ever made. These
+remarkable water-colors alone would suffice to show the genius of
+Barye, for they are full of the same qualities of truth and
+originality of expression which we see in his bronzes. Their color is
+exceedingly fine, and their topics are generally tigers, lions,
+elephants and serpents. It is a source of wonder how Barye, who never
+visited the East, could have so well depicted the tropical landscapes
+in which he has placed these tawny tigers and majestic lions. The
+drawings, like the sculptures, impress us with their air of absolute
+veracity, and, even in their most dramatic moments, suggest a
+reticence behind. Barye does not exhaust himself or his subject, yet
+he seems to have said the last word in this direction of art, and I
+cannot imagine that his profound and searching genius will ever be
+surpassed.
+
+The managers of the galleries announce the exhibition of a hundred
+"masterpieces" by the contemporaries and friends of Barye, but I do
+not think that the visitor will find so large a number which can
+rightly be thus classed. To me it appears that something less than
+one-half are works of the first order, but among the remainder are
+many good things worthy of attention. Here again the treasures of Mr.
+Walters's collection are drawn upon and he sends some twenty-five
+pictures, prominent among which is the great "Martyrdom of St.
+Sebastian," by Corot; the "Evening Star," by the same master; Troyon's
+"Cattle Drinking"; Diaz's "Storm" and "Autumn Scene in the Forest of
+Fontainebleau"; Rousseau's "Le Givre"; Decamps's "Suicide"; Daubigny's
+large "Sunset on the Coast of France"; Delacroix's "Christ on the
+Cross"; and Millet's "Breaking Flax." One of the finest Millets I have
+ever seen is here, lent by Mr. Walters. This is the "Sheepfold at
+Night," which with several others of Mr. Walters's paintings here
+shown, was in the exhibition of "One Hundred Masterpieces" held at
+Paris in 1883. In its foreground a line of sheep pass by toward the
+gate of the fold through which some have already entered under the
+guidance of the shepherd and his dog, who stand near. The horizon is
+low, and just above it swings a swollen moon, shaped like a cup, from
+which floods of pale light fill the scene with color. If this were Mr.
+Walters's only contribution it would be sufficient to place us under a
+heavy obligation to him. The "St. Sebastian" is a large canvas,
+measuring four feet wide by eight feet high, which was first shown at
+the _Salon_ of 1853, and afterwards twice received important changes
+at the artist's hands. It shows an opening in a great wood, with the
+saint reclining on the ground tended by two holy women, while above
+appear some angels who bear the martyr's palm and crown. Rousseau's
+"Le Givre" is well described by Sensier, who says in his "_Souvenirs
+sur Th. Rousseau_," it represents "the hills of Valmondois as seen a
+mile away across the Oise, along the des Forgets road. The composition
+could not be more simple. Little hillocks heaped in the foreground are
+covered with half-melted snow, and the sun, red in the midst of a
+leaden sky, is seen dying and threatening through the clouds." The
+"Suicide," of Decamps, shows the body of a young artist stretched
+lifeless on his pallet in a gloomy room, and is painted with
+extraordinary force. The "Sunset," by Daubigny, describes a scene on
+the French coast with some cows near a pool separated from the sea
+only by a few yards. The foreground is rich in sombre greens and
+browns, the ocean a glorious blue and the sky tinged with the roses of
+sunset.
+
+A superb specimen of the lately dead veteran, Jules Dupre, "The Old
+Oak," is lent by Mr. John G. Johnson, who contributes several other
+pictures, among them a fine "Going to the Fair," by Troyon, in which
+is seen a drove of cattle and sheep, with a woman on horseback behind
+talking to a man. Another still finer Troyon, the "Drove of Cattle and
+Sheep," which brought $26,000 at the Spencer sale, is lent by Mr.
+Cornelius Vanderbilt. It will be recalled as showing a flock of sheep
+coming along a road toward the spectator, while behind are two cows,
+one with head uplifted to avoid the threatening stick of the drover--a
+dumb but eloquent protest against man's cruelty. Corot's lovely "Lake
+Nemi," the property of Mr. Thomas Newcombe, is here, while Mr. Jay
+Gould sends his "Evening"; Mr. William F. Slater, of Norwich, Conn.,
+the "Fauns and Nymphs," and Mr. Charles A. Dana his beautiful "Dance
+of Loves." To the same gentleman the public is indebted for an
+opportunity to admire Millet's admirable "Turkey-keeper." Mr. D. C.
+Lyall has Delacroix's splendid page of romance, "The Abduction of
+Rebecca," and among the numerous paintings which come from Mr. George
+I. Seney's gallery, is the same artist's well-known "Convulsionaries,"
+a crowd of self-tortured fanatics wildly rushing through the
+white-walled streets of Tangiers. There are several other works by
+Delacroix, including examples of his vivid renditions of lions and
+tigers, and Mr. Slater has here his "Christopher Columbus," Mr. Potter
+Palmer, of Chicago, lending the "Giaour and Pacha." Gericault is
+represented by but one picture, a noble couchant lion, but in addition
+to the "Suicide," there are several other Decamps, notably the
+magnificently colored "Turkish Butcher's Shop," which, with a
+splendid Rousseau, the "Forest of Fontainebleau," comes from the
+collection of Mr. Henry Graves. The gorgeous blues and crimsons of
+Diaz's "Coronation of Love," which Mr. Brayton Ives is fortunate
+enough to own, glow in a corner of one of the galleries--a bouquet of
+living color. It was pleasant to meet again a familiar picture in
+Millet's "Waiting," which the writer recalls often seeing at the
+Boston Art Museum when it belonged to Mr. Henry Sayles. It is now the
+property of Mr. Seney, and will be at once remembered by any who have
+ever seen its homely but touching figures of the old mother looking
+down the road for the coming of her absent son, and the blind father
+stumbling hastily over the steps to the door. I renewed my
+acquaintance with the inimitable cat which arches its back, elevates
+its tail and miaows on the bench outside, its ginger-colored coat
+relieved against the cool blue-grays of the stone wall. It is the
+apocryphal story of Tobit and Anna, with the waiting parents made into
+peasants of Millet's own country, and when it was exhibited at the
+_Salon_ of 1861, the public, of course, passed it by to gaze at the
+"Phryne" of Gerome. Millet has doubtless painted better pictures, but
+for direct simple pathos it would be hard to surpass this.
+
+Boston, through Mr. Quincy Shaw and other gentlemen, sends to the
+exhibition some of the best paintings shown. Mr. Shaw exhibits his
+"Potato-planters," to me the most beautiful in its rosy tones of any
+example of the artist here; of the same size, a fine "End of the
+Village of Greville," walled with graystone, its little street
+monopolized by geese and ducks, and the sea-gulls flying above; and
+the "Buckwheat Threshers," with two smaller canvases. Mr. F. L. Ames,
+lends two Millets, a beautiful Rousseau, "The Valley of Tiffauge,"
+Decamps's splendid picture of an African about to sling a stone at a
+vulture sitting on some ruins, and the superbly painted dogs of
+Troyon's "Gardechasse." Dr. H. C. Angell's fine Jules Dupre,
+"Symphony," is also here.
+
+The Millets number about a third of the paintings and among them is an
+interesting variation of the "Sower," narrower in shape than the
+others and with a steeper hillside. It would have been a delight to
+have seen Mr. Shaw's "Sower" temporarily lifted from its place in the
+modest house which conceals so many treasures, and brought here,
+especially as it was not possible to borrow the replica belonging to
+the estate of the late W. H. Vanderbilt, but such good fortune was not
+in store for us. A beautiful little nude by Millet, "After the Bath,"
+has been sent by Mr. A. C. Clark. I think it must be the same one
+which was at the Bartholdi Pedestal Fund Exhibition some years ago,
+when it belonged to Mr. Erwin Davis. Messrs. Boussod, Valadon & Co.,
+have lent an important and beautiful "November" by Millet, showing a
+sloping field with a harrow lying on the foreground and a man shooting
+at a flock of birds from behind a tree at the top of the hill.
+
+The "Angelus," draped with crimson, is given the entire end of the
+long upper gallery and, I think, proves a disappointment to most, if
+not all. One chief reason for this is its small size,--it is but about
+21 x 25 inches--and then it is certainly not to be compared for
+painting with half a dozen other Millets which are here. Its sentiment
+is lasting, however, but it is not new to us, on the contrary it is a
+household word now, and the painting gives but little more than does
+Waltner's etching. Mr. Walters loans the crayon sketch for it and one
+of "The Sower" and the "Sheepfold by Moonlight," with others, and
+there are some very interesting pastels and water-colors by Millet,
+Rousseau and Delacroix.
+
+Altogether the exhibition is an extraordinarily good one, unapproached
+as to the Baryes and not easily surpassable as to the paintings of the
+Fontainebleau school, and any lover of art would find himself amply
+repaid by it for a journey to New York.
+
+
+
+
+[Illustration: THE ILLUSTRATIONS]
+
+[_Contributors are requested to send with their drawings full and
+adequate descriptions of the buildings, including a statement of
+cost._]
+
+
+"THE LION AND THE SERPENT." M. A. L. BARYE, SCULPTOR.
+
+[Photogravure issued only with the International Edition.]
+
+See article elsewhere in this issue.
+
+
+AUDITORIUM OF THE PALACE OF THE TROCADERO, PARIS, FRANCE. MM. DAVIOUD
+& BORDAIS, ARCHITECTS.
+
+[Gelatine Plate issued only with the International Edition.]
+
+
+AN INTERIOR IN THE CHATEAU DE JOSSELIN, MORBIHAN, FRANCE.
+
+[Gelatine Plate issued only with the International Edition.]
+
+
+TORRE DEL VINO, ALHAMBRA, GRANADA, SPAIN.
+
+[Grano-chrome issued only with the International Edition.]
+
+
+RUINS OF THE CHAPEL OF CHARLES V, YUSTE, SPAIN.
+
+[Grano-chrome issued only with the International Edition.]
+
+
+COOMBE WARREN, KINGSTON, ENGLAND.--GARDEN FRONT. THE LATE MR. GEORGE
+DEVEY, ARCHITECT.
+
+[Issued only with the International Edition.]
+
+
+COOMBE WARREN, KINGSTON, ENGLAND.--ENTRANCE FRONT. THE LATE MR. GEORGE
+DEVEY, ARCHITECT.
+
+[Issued only with the International Edition.]
+
+
+A GENTLEMAN'S COUNTRY HOUSE. MR. HORACE R. APPELBEE, ARCHITECT.
+
+[Issued only with the International Edition.]
+
+This design is founded upon the Francis I style of architecture,
+though it by no means slavishly follows it. It was required to obtain
+a house suited in all respects to modern requirements, including such
+things as sash-windows, and in places plate-glass. These hardly
+harmonize with the ordinary character of English country-houses of the
+Elizabethan and Queen Anne types, with their many mullioned windows
+and lead-glazed casements, nor is the other extreme of heavy Classic
+with ponderous detail and a portico two stories high at all desirable.
+The style of Francis I offers a mean between these, giving emphasis to
+the principal block by a certain amount of symmetrical planning,
+together with picturesqueness, with rich and refined detail, which a
+gentleman's country-house certainly requires. The exterior would be of
+long and thin red bricks, with stone cornices and other dressings, and
+roofed with green slates. The interior has oak-work and enriched
+plaster ceilings to the principal rooms, with the exception of the
+hall, where the ceiling would be of oak. The hall and the staircase
+would have some stained-glass in the windows. The original drawing was
+exhibited in this year's Academy.
+
+
+WROUGHT-IRON GATES, DUKE STREET, CHELMSFORD, ENGLAND.
+
+[Issued only with the International Edition.]
+
+
+HISTORICAL FIGURES FROM LORD MAYOR'S PROCESSION, 1889. DESIGNED BY MR.
+JOHN JELLICOE.
+
+[Issued only with the International Edition.]
+
+These figure sketches embrace five typical examples from the late Lord
+Mayor's show, in which Mediaeval, Tudor and Stuart costumes were
+(thanks to the research and artistic knowledge of Hon. Lewis
+Wingfield) so pleasantly associated. We have selected five, both on
+account of their diversity and also because of their being
+representative costumes of different eras in English history. The
+dresses, for magnificence and accuracy of detail, have rarely been
+equalled.
+
+
+HOUSE OF MRS. CHARLES BLAKE, BEACON ST., BOSTON, MASS. MESSRS. STURGIS
+& CABOT, ARCHITECTS, BOSTON, MASS.
+
+[Issued only with the Imperial and International Editions.]
+
+
+COMPETITIVE DESIGN FOR THE CATHEDRAL OF ST. JOHN THE DIVINE, NEW YORK,
+N.Y. MR. GLENN BROWN, ARCHITECT, WASHINGTON, D.C.
+
+Although the selection of material is a matter that can be well
+dispensed with until the general design has been determined, the
+architect suggests as in harmony with the treatment, Westerly, R.I.
+granite for the body of the cathedral, with trimmings of carved
+capitals, bases, columns, belts, arches and other ornamental stonework
+of a Georgia marble. The granite is cream color, with a suspicion of
+red, and the marble is of the same shade but a trifle darker and more
+positive. Both from chemical and physical tests they are apparently of
+equal strength and durability. The colors suggested would not give the
+building the cold appearance of white marble, or the somewhat sombre
+appearance produced by gray granite.
+
+The stones are to be laid in square blocks, regular courses and
+rock-face in the body of the building, with square and sharp corners.
+The columns, lintels, sills, belts, finials and mouldings are to be
+close hammered work, with carving where indicated on the drawings.
+
+The different tower roofs are to be fine-hammered or rubbed granite.
+The distinction between the tower roofs and the body of the building
+is not brought out clearly in the different drawings, as this would
+require shading all the granite stonework except the tower roofs, and
+shading is prohibited by the instructions.
+
+The interior of the church is designed to be finished in marbles of
+harmonious colors, with carved and other decorated work, as shown in
+the section. The surface of the floor is to be laid in mosaic tile,
+the presumption being that fixed pews will not be used in the
+cathedral. Ample storage can be obtained for portable seats in the
+cellar.
+
+The floors are laid on terra-cotta arches, built on iron beams, and
+the beams are protected by terra-cotta casings.
+
+The roof of the building is to be covered with slate [preferably red],
+laid on terra-cotta and supported by iron trusses and beams; the
+iron-work to be protected by a fireproof covering. The tower roofs
+contemplate granite, lapped and jointed so as to be weatherproof, laid
+on iron beams and supported by iron trusses. If a cheaper covering is
+desired, slate or tile can be used without affecting the design.
+
+The ceiling is a barrel-vault with large and small arched ribs
+pierced in each bay by the small vaults in which the clerestory
+windows open. It may be treated in one of three ways: first, finished
+in marble; second, marble ribs, the larger surfaces being terra-cotta
+blocks covered with mosaic tile; third, the larger surfaces frescoed
+on plaster. The ceiling of the lantern in the centre of the cathedral
+will be supported by arch trusses, and show metallic ribs on the
+interior, glazed with cathedral glass.
+
+The screens between the choir and aisles and between the aisle and
+vestries and chapels are intended to be of wrought-iron, bronze or
+brass, or a combination. They should be arranged so as to slide down
+into the cellar and leave the entire building open and unobstructed
+whenever it might be thought desirable.
+
+The outside doors are to be bronze, with figures on them in low
+relief.
+
+The size of columns and piers, and the weights imposed upon them, the
+thrusts of arches and trusses, their proper abutments and ties and
+other constructional problems have been calculated with a sufficient
+degree of accuracy to determine the feasibility of the execution of
+the design according to the drawings.
+
+In the lantern where the frescoing is contemplated the wall will be
+faced with porous brick, on which the proper fresco plaster can be
+spread.
+
+The plan is arranged to facilitate the ingress and egress of large
+assemblages of people, five doorways being provided in the nave
+entrance and two in each of the transepts. The galleries over the nave
+and transept vestibules and the triforium have stairways with
+entrances on the side porches. Including the clergy entrances, fifteen
+outside doors are planned. The vestibules and porches connect with
+each other so that worshippers can pass from one to the other under
+cover.
+
+The arrangement adopted for the central tower allows a central
+auditorium about one hundred feet in diameter, unobstructed by columns
+or piers, with the nave transepts and choir opening into it. The
+aisles are not decreased by this central enlargement, as they deflect
+through the four abutting towers.
+
+The different vestry-rooms, library or sacristy and the treasury are
+grouped conveniently to the choir, with separate entrances for the
+church officials. The meeting-room for the clergy or chapter and the
+chapel have entrances independent of the church, or by lowering the
+screen they can be thrown open into the cathedral. Toilet-rooms,
+custodian's and a committee-room are located on the transept
+vestibules, as these entrances would most probably be constantly open.
+
+Elevators are placed in two of the supplemental towers, and stairways
+in the ones adjoining the choir, landing visitors on the triforium
+gallery, which encircles the building, and in the two galleries which
+encircle the central lantern. From the lantern galleries visitors can
+obtain fine interior views of the building, and comprehend the crucial
+form of the plan at a glance.
+
+TABULATIONS OF APPROXIMATE DIMENSIONS.
+
+                          Length.    Breadth.    Height.   Square feet.
+Ground-floor including
+  walls height to the
+  ridge of roof             400     156 to 230     148        69,000
+
+Lantern or central tower
+  exterior                  106         106        400        11,236
+
+Nave interior               125          50        100         6,250
+
+Transepts interior           30          50        100         3,000 for
+                                                                the two
+
+Choir interior               95          50        100         4,750
+
+Central tower interior       88          88        200
+
+Aisles interior                          16         40
+
+Chapel and Chapter           52          26
+
+Square feet of auditorium exclusive of aisles, columns
+  and space between columns, triforium and galleries          20,486
+
+Auditorium including everything except choir                  48,106
+
+
+ABBEY OF ABERBROTHWICK: GALLERY OVER ENTRANCE.
+
+ABBEY OF ABERBROTHWICK: THE WESTERN DOORWAY.
+
+The traveller by sea, along the east coast of Scotland, is liable to
+be reminded with startling emphasis of the demolition to which the
+ecclesiastical architecture of the country has been subjected. Leaving
+behind him on his northward course the fragments of the metropolitan
+Cathedral of St. Andrews, he crosses a wide arm of the sea, and when
+he again approaches the shore, the objects most prominent against the
+sky are the still more disastrously shattered remnants of the great
+Abbey of Aberbrothwick. One lofty fragment presents in its centre a
+circle, doubtless once filled with richly moulded mullions and
+stained-glass, but through which the blue sky is now visible. This
+vacant circle is the only symmetrical form in these lofty masses that
+at a distance strikes the eye--all else is shapeless and fragmentary.
+Around these huge unsightly vestiges of ancient magnificence the types
+of modern comfort and commercial wealth cluster thickly, in the shape
+of a small but busy manufacturing town, with its mills, tall chimneys
+and rows of substantial houses.
+
+The ruins, which are interesting only in their details, scarcely
+present a more inviting general aspect as they are approached. Nearing
+them from the High Street of the burgh, the first prominent object is
+a grim, strong, square tower, the sole remaining complete edifice of
+the great establishment, now used as a butcher's shop. It was not
+perhaps without design that this formidable building was so placed as
+to frown over the dwellings of the industrious burghers--it was the
+prison of the regality of the abbey--the place of punishment or
+detention through which a judicial power, scarcely inferior to that of
+the royal courts, was enforced by this potent brotherhood; and thus it
+served to remind the world without, that the coercive power of the
+abbot and his chapter was scarcely inferior to their spiritual dignity
+and their temporal magnificence. Passing onward, the whole scene is
+found to be a chaos of ruin. Fragments of the church, with those of
+the cloisters and other monastic edifices, rise in apparently
+inseparable confusion from the grassy ground; but, with a little
+observation, the cruciform outline of the church can be traced, and
+then its disjointed masses reduce themselves into connected details.
+The dark-red stone of which the building was constructed is friable,
+and peculiarly apt to crumble under the moist atmosphere and dreary
+winds of the northeast coast. The mouldings and tracery are thus
+wofully obliterated, and the facings are so much decayed as to leave
+the original surface distinguishable only here and there. At
+comparatively late periods large masses of the ruins have fallen down;
+and Pennant mentions such an event as having taken place just before
+he visited the spot. This palpable progress towards the complete
+extinction of the relics of one of the finest Gothic buildings in
+Scotland, certainly rendered it not only justifiable but highly
+praiseworthy that the Exchequer should make some effort for preserving
+so much of the pile as was preservable. Restoration was not to be
+expected--the preservation of the existing fragments was all that
+could be reasonably looked for. It must be confessed, however, that
+the operations, by means of which this service was accomplished, have
+given no picturesque aid to the mass of ruins, but have rather
+introduced a new element of discordance and confusion, in the contrast
+between the cold, flat, new surfaces of masonry and the rugged,
+weatherbeaten ruins in which they are embodied.
+
+There are few buildings in which the Norman and the early English are
+so closely blended, and the transition so gentle. The great western
+door has the Norman arch, with an approach to the later types in some
+of its rather peculiar mouldings, while the broad and equally peculiar
+gallery above it--the only interior portion of the church remaining in
+a state of preservation--shows the pointed arch, with all the
+simplicity of the Norman pillar and capital. All the material
+fragments of the church now remaining are represented in the four
+accompanying plates, from which as full an idea of the shape and
+character of the remains may be derived as the visitor could acquire
+on the spot. It will be seen that over the gallery, at the western end
+of the nave, there widens the lower arc of a circular window, which
+must have been of great size. The only portions of the aisle windows
+still existing are on the south side of the nave. None of the central
+pillars remain, but their bases have been carefully laid bare: and it
+is supposed, from the greater size of those at the meeting of the
+cross, that here there had been a great central tower.
+
+Among the tombs of more modern date, in the grave-yard near the
+church, there are many which bear sculptural marks of a very remote
+antiquity; and among the ornaments they present, the primitive form of
+the cross is conspicuous. During the operations for cleaning out the
+ruins, which were conducted under the authority of the Exchequer in
+1815,[3] some pieces of monumental sculpture were discovered, two of
+which are curious and remarkable. The one is the mutilated figure of a
+dignified churchman--probably an abbot. The head, the hands--which
+appear to have been clasped--and the feet, are broken off and lost;
+but the fragment thus truncated has much appearance of grace in the
+folds of the drapery and the disposition of the limbs, while a series
+of rich ceremonial ornaments appear to have been brought out with
+great force and minuteness. The other figure, still more mutilated, is
+simpler in the ordinary details, but has attached to it some adjuncts
+which have perplexed the learned. The feet appear to have rested on
+the effigy of a beast, the remains of which indicate it to have
+represented a lion. It has, from this circumstance, been inferred that
+the statue was that of William the Lion, the founder of the abbey. The
+figure has, however, been attired in flowing robes, and a purse hangs
+from the girdle. But the portions of this fragment which chiefly
+contributed to rouse curiosity, are some incrustations, which had at
+first the appearance of the effigies of lizards crawling along the
+main figure. It was supposed that these reptiles were intended to
+embody the idea of malevolent spirits, and that the piece of sculpture
+might have been designed to represent a myth, probably in reference to
+the machinations of the infernal world. But, upon a closer inspection,
+it was found that these tiny figures represented pigmy knights in
+armor, scrambling, as it were, up the massive figure. One appears to
+be struggling with the drapery below; another has reached the waist;
+and the fracture, which is across the shoulder, leaves dangling the
+mailed heels of two others, which must have reached the neck. Is it
+possible that there can be here any reference to the slaughter of
+Becket, to whom the abbey was dedicated?
+
+FOOTNOTE:
+
+[3] New Stat. Account, Forfar, p. 80.
+
+
+HISTORICAL SKETCH.
+
+The historical circumstances connected with the foundation of this
+monastic institution are remarkable. It was founded and endowed by
+William the Lion, King of Scots, in the year 1178, and dedicated to
+St. Thomas a Becket, the martyr of the principle of ecclesiastical
+supremacy, whose slaughter at the high altar of Canterbury Cathedral
+occurred in 1170, and who was canonized in 1173. This great
+establishment, richly endowed, was thus a magnificent piece of homage
+by the Scottish King to a principle which, especially under the bold
+and uncompromising guidance of its great advocate, had solely
+perplexed and baffled his royal neighbor on the English throne, and
+boded future trouble and humiliation to all thrones and temporal
+dignities. Much antiquarian speculation has been exerted, but without
+very obvious success, to fathom the motives for this act of
+munificence. William had invaded those parts of the north of England
+which were previously held in a species of feudality by the Kings of
+Scotland, and was disgracefully defeated at Alnwick, and committed to
+captivity, just at the time when the English monarch, whose forces
+accomplished the victory and capture, was enduring his humiliating
+penance at the tomb of the canonized archbishop. Lord Hailes, who says
+that "William was personally acquainted with Becket, when there was
+little probability of his ever becoming a confessor, martyr and
+saint," endeavoring to discover a motive for the munificence of the
+Scottish King, continues to say: "Perhaps it was meant as a public
+declaration that he did not ascribe his disaster at Alnwick to the
+ill-will of his old friend. He may, perhaps, have been hurried by the
+torrent of popular prejudices into the belief that his disaster
+proceeded from the partiality of Becket towards the penitent Henry;
+and he might imagine that if equal honors were done in Scotland to the
+new saint as in England he might, on future occasions, observe a
+neutrality."[4] It is remarkable that several of the early chroniclers
+allude to this friendship between the Scottish monarch, who was a
+resolute champion of temporal authority, and the representative of
+ecclesiastical supremacy....
+
+Princes may be induced, by personal circumstances, to change their
+views, and in the times when they were not controlled by responsible
+ministers, they gave effect to their alterations of opinion. It is
+quite possible that at the time when he founded the Abbey, William was
+partial to Church ascendency, for his celebrated contest with the
+ecclesiastical power arose out of subsequent events. This King's
+disputes with the Church have a somewhat complex shape. The clergy of
+his own dominions had a spiritual war against the English hierarchy,
+who asserted a claim to exercise metropolitan authority over them; and
+it might have been supposed that William, if he sought to humble his
+own clergy, would have found it politic to favor the pretensions of
+those of England. But the interests of the two clerical bodies became
+in the end united. Thus the war which had so long raged in England,
+passed towards the north, with this difference, that the King of Scots
+had to encounter not only his own native hierarchy, but the victorious
+Church of England, just elated by its triumph over Henry. The Chapter
+of St. Andrews had elected a person to be their bishop, not acceptable
+to William, who desired to give the chair to his own chaplain. The
+King seized the temporalities, and prevailed on the other bishops to
+countenance his favorite. The bishop-elect appealed to Rome. Pope
+Alexander III issued legatine powers over Scotland to the Archbishop
+of York, who, along with the Bishop of Durham, after an ineffectual
+war of minor threats and inflictions, excommunicated the King, and
+laid the kingdom under interdict. At this point Alexander III died,
+and the new pope thought it wise to make concessions to an
+uncompromising adversary in a rude and distant land, who had shown
+himself possessed of an extent of temporal power sufficient to
+counteract the power of Rome, even among the ecclesiastics themselves.
+
+It was before this great feud commenced that the Abbey was founded;
+but during its continuance the institution received, from whatever
+motives, many tokens of royal favor, as well as precious gifts from
+the great barons. Among the list of benefactors we find many of those
+old Norman names, which cease to be associated with Scottish history
+after the War of Independence. It is a still more striking instance of
+the community of interest between the two kingdoms anterior to this
+war, that while we find a Scottish king devoting a great monastic
+establishment to the memory of an English prelate, we should find an
+English king conferring special privileges and immunities within his
+realm on the Scottish brotherhood....
+
+The Abbey was founded for Tyronesian monks, and the parent stock
+whence it received its first inmates was the old Abbey of Kelso. In
+the year of the foundation, Reginald, elected "Abbot of the Church of
+St. Thomas," was, with his convent, released of all subjection and
+obedience to the abbot and convent of Kelso. The church was completed
+and consecrated under the abbacy of Ralph de Lamley, in 1233.
+Aberbrothwick was one of those ecclesiastical institutions immediately
+connected with the spread of the Roman hierarchy, which gradually
+sucked up the curious pristine establishment of the Culdees; and the
+muniments of the Abbey thus afford some traces of the character and
+history of this religious body, at least towards the period of their
+extinction. Thus, while the Church of Abernethy, an ancient seat of
+the Culdees, is granted by King William to his new foundation, Orme of
+Abernethy, who is also styled Abbot of Abernethy, grants the half of
+the tithes of the property of himself and his heirs, the other half of
+which belongs to the Culdees of Abernethy, while some disposals of a
+strictly ecclesiastical character are made by the same document. Thus
+we find an abbot who makes disposal for his heirs--a counterpart to
+those references to the legitimate progeny of churchmen, which
+frequently puzzle the antiquary in his researches through early
+Scottish ecclesiastical history.
+
+The Abbot of Aberbrothwick possessed a peculiar privilege, the origin
+of which is in some measure associated with the Culdees--the custody
+of the Brecbennach, or consecrated banner of St. Columba. The lands of
+Forglen, the church of which was dedicated to Adomnan the biographer
+of Columba, were gifted for the maintenance of the banner. The
+privilege was conferred on the Abbey by King William, but as it
+inferred the warlike service of following the banner to the King's
+host, the actual custody was held by laymen, the Abbey enjoying the
+pecuniary advantages attached to the privilege, as religious houses
+drew the temporalities of churches served by vicars.
+
+It will readily be believed that this, one of the richest and most
+magnificent monastic institutions in Scotland, numbered many eminent
+men among its abbots, who from time to time connect it with the early
+history of Scotland. It is even associated with a literature that has
+survived to the present day, in having been presided over by Gavin
+Douglas, the translator of Virgil. The two Beatons, Cardinal David and
+Archbishop James, also successively its abbots, give it a more
+ambiguous reputation. At the Reformation, the wealth of the Abbey was
+converted into a temporal lordship, in favor of Lord Claude Hamilton,
+third son of the Duke of Chatelherault, and the greater part of the
+temporalities came, in the seventeenth century, into the hands of the
+Panmure family.
+
+In a tradition immortalized by a fine ballad of Southey's, it is said
+that the abbots of Aberbrothwick, in their munificent humanity
+preserved a beacon on that dangerous reef of rock in the German Ocean,
+which is supposed to have received its name of the "Bell Rock" from
+the peculiar character of the warning machinery of which the abbot
+made use:
+
+    "The Abbot of Aberbrothwick
+    Had placed that bell on the Inchcape rock,
+    On a buoy in the storm it floated and swung,
+    And over the waves its warning rung.
+
+    "When the rock was hid by the surge's swell,
+    The mariners heard the warning bell;
+    And then they knew the perilous rock,
+    And bless'd the Abbot of Aberbrothwick."
+
+The tradition represents a rover, in the recklessness of prosperity
+and sunshine, cutting the bell-rope, and afterwards returning in foul
+weather to be shipwrecked on the rock from which he had impiously
+removed the warning beacon. No evidence of the existence of the bell
+is found in the records of the Abbey; and on the subject of its wanton
+removal, the sagacious engineer of the Northern Lights say, "It in no
+measure accords with the respect and veneration entertained by seamen
+of all classes for landmarks; more especially as there seems to be no
+difficulty in accounting for the disappearance of such an apparatus,
+unprotected, as it must have been, from the raging element of the
+sea."[5]
+
+FOOTNOTES:
+
+[4] Annals, 1178.
+
+[5] Stevenson on the Bell Rock Light-house, 69.
+
+
+DESIGN FOR A STORE. MESSRS. WAIT & CUTTER, ARCHITECTS, BOSTON, MASS.
+
+
+
+
+[Illustration: SOCIETIES]
+
+
+BOSTON SOCIETY OF ARCHITECTS.
+
+Recommendations by the Boston Society of Architects, in regard to
+practice in obtaining estimates from contractors:
+
+1. Drawings, when offered for final or competitive estimates, should
+be sufficient in number and character to represent the proposed works
+clearly; should be at a scale of not less than one-eighth of an inch
+to the foot, and be rendered in ink or some permanent process.
+
+2. Proper details should be furnished for work that is not otherwise
+sufficiently described for estimate.
+
+3. Specifications should be in ink. They should be definite where not
+sufficiently defined and explained by drawings, and every distinctive
+class of work to be included in contract should be mentioned and
+placed under its appropriate heading.
+
+4. Contractors should be notified, at time of estimate, if they are to
+be restricted in the employment of their subcontractors.
+
+5. Sub-bids received by architects should be held as confidential
+communications until all the estimates in a given class of work have
+been submitted.
+
+The principal contractor should add to his bids all these subestimates
+while in the architect's office, and should sign a tender in which the
+names of these above-mentioned subcontractors should be enumerated.
+
+6. A subcontractor should not (without his free consent) be placed
+under a general contractor, and no general contractor should be
+compelled to accept (without his free consent) the estimate of any
+subcontractor.
+
+7. Should a contractor decline to assume in his contract the estimate
+for any work not included in his original estimate, he should not
+thereby be denied the contract upon the portions of the work covered
+by his original estimate.
+
+8. Estimates should not be binding more than thirty days after
+received.
+
+9. Unless previous notification has been given to the contrary in the
+specification or otherwise, the lowest invited bidder is entitled to
+the contract. If radical changes are made, the whole competition
+should be reopened.
+
+10. After bids have been received, and before the award, bidders
+should not be allowed to amend their estimates.
+
+
+
+
+[Illustration: COMMUNICATIONS]
+
+
+[_The editors cannot pay attention to demands of correspondents who
+forget to give their names and addresses as guaranty of good faith;
+nor do they hold themselves responsible for opinions expressed by
+their correspondents._]
+
+
+BARYE'S ADMIRER.
+
+NEW YORK, N.Y., December 28, 1889.
+
+TO THE EDITORS OF THE AMERICAN ARCHITECT:--
+
+_Dear Sirs,_--I have just seen a letter from "Anglo-American" in your
+issue of December 14, in which he calls for the name of the English
+artist who said concerning the French sculptor, Barye: "Had he been
+born in Great Britain, we would have had a group by Barye in every
+square in London."
+
+Theophile Silvestre reports this remark as if uttered in his presence.
+He says (1856) that the speaker was Mr. Herbert, an artist of
+distinction. Probably this was Arthur J. Herbert. Your correspondent
+takes the remark perhaps too literally, when it merely meant to
+express admiration through a slight exaggeration. Mr. Herbert would
+have been content to see a few squares only decorated with groups by
+an English equivalent of Barye, had one existed.
+
+As to the assertion by "Anglo-American" that Alfred Stevens was "an
+artist not inferior to Barye" it will be shared by few who have
+studied the works of the great French sculptor of animals and men.
+
+"Anglo-American" is right in saying that my short paper in _Harper's
+Weekly_ errs in giving two bronze groups after Barye to Mount Vernon
+Square, Baltimore, instead of four. Were I a resident of that city, I
+could hardly have known this better, and how the error got there
+puzzles me. Certainly had I been permitted to see a proof of that
+paper the mistake would have been corrected, unimportant as it is, so
+far as Barye is concerned. I must compliment your correspondent on the
+quickness of eye that detected the slip and regret that the
+proof-reader of _Harper's Weekly_ did not know his Baltimore to the
+same degree. But he is himself in error when he speaks of the "_Life
+and Works of Antoine Louis Barye_," written by me and published by the
+Barye Monument Association as a catalogue. The catalogue is quite
+another thing from the _edition deluxe_, which is the only edition of
+the "_Life_."
+
+    CHARLES DE KAY.
+
+
+EVAPORATION OF WATER IN TRAPS.
+
+TO THE EDITORS OF THE AMERICAN ARCHITECT:--
+
+_Dear Sirs,_--In a late issue of your journal an advocate of
+Trap-venting, says of ordinary S-traps "If the traps are filled even
+once in two months they will keep their seals intact."
+
+Most persons now agree that S-traps which are back-vented in the
+ordinary manner require refilling by hand as often as once a
+fortnight. It is, therefore, clear that the system of back-venting is
+a very dangerous one. Its original object was to afford security. It
+is now found (and strangely enough, even by its advocates) that it
+totally fails in this respect and that it requires an amount of
+attention which experience and common-sense show us it will never
+receive.
+
+My experiments on the rate of seal-reduction through evaporation
+produced by back-venting were made with the greatest care and show a
+more rapid loss than is generally supposed. If the reports of these
+experiments are studied, it will be seen that every precaution was
+taken to secure trustworthy results. Although my experiments on
+siphonage were made during the same year and on the same system of
+piping with those on evaporation, it will be seen by studying the
+drawings and text of the report that the former in no wise interfered
+with the latter. No experiments on siphonage were made while the water
+stood high in the traps during the tests for evaporation, and no
+disturbance of the water seals was made by this or any other cause
+during the evaporation tests. It would have been exceedingly careless
+and totally unnecessary to allow of any such disturbance. Moreover,
+most of the experiments on evaporation were made, as shown, on a stack
+so connected with the rest of the system of piping that such
+disturbance would have been impossible. Even had we not so carefully
+closed the inlet or house-side of the traps.
+
+I found that a warm flue caused the back-vent pipe to evaporate enough
+of the water from the seal of the trap to break it in less than a
+week, and I am confident that this often happens in practice.
+
+How short-sighted and foolish is it to endeavor to throw discredit on
+these experiments which were made with the greatest care and honesty
+and which were witnessed and subscribed to by impartial experts, and
+to argue that, because other experiments made under different
+conditions showed a somewhat slower rate of evaporation, therefore
+cases could never occur in which the more rapid rate might be
+encountered in practice.
+
+It is likely that the public will very soon awake to a sense of the
+importance of investigating this matter for themselves. Their Boards
+of Health will then find that with a very small outlay they can obtain
+the truth; and that a vast amount of unnecessary complication and
+expense can be saved in plumbing and, at the same time greater
+security be obtained.
+
+When we consider, too, the well-known unreliability of the vent-pipe
+in other ways and the frequency with which it is found totally closed
+by grease, it becomes something more than folly to recommend the
+public to place implicit reliance upon it.
+
+    J. P. PUTNAM.
+
+
+
+
+[Illustration: NOTES AND CLIPPINGS]
+
+
+THE DIVINING-ROD.--Professor Ray Lankester, having recently expressed
+some doubts of the alleged powers of a boy "water-finder." Dr.
+McClure, who is chairman of the company by whom the boy is employed,
+has denied emphatically that the boy, whose name is Rodwell, is an
+impostor. He says that the lad, when tested, never failed to find
+either water or mineral veins, the lodes having always been found
+exactly at the places indicated. The divining-rod which he holds only
+moves in obedience to the muscular contraction of his hands, and a rod
+of any kind of wood, or even of any material substance whatever, can
+be used, provided it be a conductor of electricity. Dr. McClure's
+statements have excited considerable comment in England. The phenomena
+of tests by the divining-rod are not by any means new. They have never
+been described from a scientific point-of-view, nor has any
+philosophical explanation of them ever been advanced, but there is no
+question whatever of their existence, and of their being now regarded
+by the most advanced scientists as beyond the region of chicanery and
+imposture. Mr. W. J. Jenks, in a recent lecture on "The Protection of
+Electric Light Stations from Lightning," treats the subject very
+exhaustively, and shows that where the ability to locate electrical or
+magnetic attraction is vested in an individual the results are
+absolutely reliable. He instances the case of two gentlemen of
+Merrimac, Massachusetts, named Prescott, who for several years have
+given displays of this rare faculty. As an illustration of the
+certainty with which the Prescott brothers could indicate the location
+of electrical attraction, Mr. Jenks gives a well-authenticated
+incident which took place at Amesbury not long ago. Several old
+citizens were sceptical as to the accuracy of the conclusions supposed
+to have been reached, and determined on a severe test. Taking twenty
+or more citizens as witnesses, they requested the Prescott brothers to
+accompany them, and indicating a stretch of highway before them, some
+forty or fifty rods in length, stated that some years previous
+lightning had struck on that road, and wished to be informed as to the
+exact spot. Proceeding several rods, two cross currents were marked
+out; both extending for some distance in the travelled pathway and
+crossed by another at right angles. Testing carefully the roads in
+both directions, this electrical centre was pointed out as the
+greatest danger in the vicinity. The party was then invited to examine
+an ancient volume of official records, where it was chronicled that on
+the 7th of October, 1802, a man who was driving two yoke of cattle was
+struck by lightning in that exact spot and, with all his animals, was
+instantly killed. The occurrence had been deemed at the time so
+remarkable that the circumstance, with a minute description of the
+locality, had been recorded, though long forgotten by all but perhaps
+a few of the oldest citizens.
+
+       *       *       *       *       *
+
+THE DANGERS OF ELECTRICITY.--The rapid spread of electric lighting
+in America has not been accomplished without very considerable loss
+of life. From a list compiled by Mr. Harold P. Brown, of New York,
+we learn that eighty-seven persons have been killed up to the
+commencement of this year. This is a very serious total, and if
+there were any likelihood of the rate being maintained, it would
+supply ample reason for very stringent legislative control being
+exercised over all electric installations. Happily many of the
+accidents may be attributed to the want of knowledge which always
+characterizes a new manufacture, while numbers of them are also due
+to the hasty and careless methods of erection adopted in America.
+Both these causes may be expected to decrease rapidly in the future,
+particularly if the municipalities insist on the mains being placed
+underground, instead of being strung on poles in the streets. Mr.
+Brown is well-known from his persistent opposition to the alternate
+current system; he never misses an opportunity of insisting upon its
+dangers, and of comparing it, to its detriment, with the
+direct-current system. Now as the alternate system is rapidly
+spreading all over London and also in many parts of the kingdom,
+this is a question which interests us directly. Are we running
+special risks by permitting its establishment? As far as lighting
+currents of fifty or one hundred volts are concerned, it certainly
+matters little or nothing whether they are direct or alternate, for
+neither will produce any serious injury on the human frame. When it
+comes to currents of distribution of two thousand volts, then it is
+quite conceivable that death is more certain by the alternate
+current, but unfortunately it is also fairly certain with the direct
+current, so that there is very little to choose between them. A
+house in which the fittings were charged to such a potential would
+be as dangerous as a battlefield. What is wanted is sufficiently
+good workmanship to prevent contact ever being made between the
+distributing mains and the service wires, and this there should be
+no difficulty in obtaining. Even if a leak should occur the device
+of putting the service main to earth at one point will prevent it
+doing any harm. Mr. Brown refers to two cases in which men were
+killed by contact with a perfectly insulated wire, their death being
+caused by the static charge. We feel considerable doubt as to the
+possibility of any one being killed by a static charge under these
+circumstances; we prefer to believe that the insulator was bad,
+probably a mere taping of non-waterproof material. Just as the
+death-rate on a railway varies inversely as the perfection of the
+signalling appliances, so the fatalities in America from electricity
+will decrease as better materials are adopted, and more care is
+expended in erection.--_Engineering._
+
+       *       *       *       *       *
+
+THE MONOLITHIC CHURCH OF ST. EMILION.--About twenty miles to the
+north-east of Bordeaux is Libourne, one of the principal towns founded
+by Edward I. This flourishing commercial town was the ruin of its
+neighbor, St. Emilion, which affords a fine field for the antiquary,
+nearly the whole town consisting of buildings of the Middle Ages. A
+considerable part of the town wall of the twelfth century remains,
+with the ditch, now turned into vineyards, and at one corner is a fine
+house of the same period, which is called the Palace of the Cardinal
+de la Mothe, who may perhaps have resided in it; but it is at least a
+century older than his time, and can hardly be later than 1200, as
+will at once be seen by the details. The French antiquaries say that
+it was built by the Cardinal in 1302, and speak of it as a remarkable
+synchronism in art; but the fact appears to me simply incredible. The
+most remarkable feature of St. Emilion is the monolithic church, which
+is probably one of the most curious of its class. It is cut entirely
+out of the solid rock, and is of early Romanesque character. The
+precise date is uncertain, but it appears most probable that the work
+was commenced in the eleventh century, and carried on through the
+whole of the twelfth. St. Emilion is said to have lived in the eighth
+century. A fragment of an inscription remains, the characters of which
+agree with the eleventh century; but some of the French antiquaries
+attribute it to the ninth. Others consider it as merely the crypt of
+the church above on the top of the rock; but that church is of much
+later character, and it is much more probable that the subterranean
+church was first made, and the other built long afterwards, when the
+country was in a more settled state. This church is 115 feet long by
+80 wide. It consists of three parallel aisles, or rather a nave and
+two aisles, with plain barrel-shaped vaults, if they can be so called,
+with transverse vaults or openings, and round arches on massive square
+piers; the imposts are of the plain early Norman character, merely a
+square projection chamfered off on the under side, but one of them is
+enriched with the billet ornament. There are recesses for tombs down
+the sides, and a fourth aisle or passage has been cut out on the south
+side, apparently for tombs only, as it has recesses on both sides to
+receive the stone coffins. Still farther to the south, but connected
+by a passage, is a circular chamber in an unfinished state, with a
+domical vault, and an opening in the centre to a shaft which is
+carried up to the surface. Whether this was intended for a
+chapter-house, or for a sepulchral chapel in imitation of the Holy
+Sepulcre, is an undecided point. I incline to the latter opinion. This
+subterranean church or crypt is necessarily lighted from one end only,
+where it is flush with the face of the rock; and these openings are
+filled with Flamboyant windows, which are very evident insertions. On
+the surface of the hill over this church, but with a large space of
+solid rock intervening, is the tower and spire belonging to it. The
+tower is of late Norman and Transitional character surmounted by a
+Flamboyant crocketed spire. There is a kind of well or flue cut
+through the rock under the tower into the church below, apparently for
+the bell-ropes. In the church are remains of early painting, and some
+shallow sculpture, the character of which appears to be of the twelfth
+century. Adjoining to the church, on the south side, is a detached
+chapel of transition Norman work, with an apse vaulted with good ribs
+and vaulting shafts. A considerable part of the old painting is
+preserved; some of the ribs are painted with zigzags. Under this
+chapel is a crypt or cave cut out of the rock called the Grotto of St.
+Emilion, with a spring of water in it. The work is of the same early
+character as the other vaults.--_J. H. Parker._
+
+       *       *       *       *       *
+
+ANOTHER TALL CHIMNEY.--A factory chimney, said to be the highest in
+the world, is now being erected at the Royal Smelting-Works, near
+Freiberg, in Saxony. The horizontal flue from the works to the chimney
+is 1,093 yards long; it crosses the river Mulde, and then takes an
+upward course of 197 feet to the top of the hill upon which the
+chimney is being built. The base of the structure is thirty-nine feet
+square by thirty feet in height, on which is placed a short octagonal
+transition, from which the round shaft starts. This is 430 feet high,
+or altogether, with the base 460 feet high, with an inside diameter of
+twenty-three feet at the bottom, and sixteen feet and six inches at
+the top. It will take 1,500,000 bricks, and the cost is
+L6,000.--_Exchange._
+
+       *       *       *       *       *
+
+SITE OF A LOCRIAN TOWN.--The site of an ancient city of the Locri in
+modern Calabria, Italy, is in progress of excavation, under the
+direction of Dr. Orsi. The modern name of the spot is Gerace. A temple
+of six columns has been unearthed, and among the prizes is a Greek
+group in Parian marble, showing a divinity with a fishtail, a horse
+and a nude youth. The group is supposed to have been placed in the
+pediment of the west gable. Other finds are awaited.--_New York
+Times._
+
+       *       *       *       *       *
+
+THE WATKIN TOWER.--Four hundred plans have already been received by
+the committee who offered prizes for the best and second-best plan for
+the proposed Watkin tower--the English Eiffel. It has been said that
+it will be so high that all that need be done when fog comes on will
+be to enter the lift and in a few minutes be up in the clear
+blue.--_Boston Post._
+
+       *       *       *       *       *
+
+PERSIAN COURT ART.--M. Georges Perrot will maintain in his
+forthcoming volume on Persian art, being the fifth volume of "The
+History of Art," that the old art of Persia had nothing to do with
+the Persian people, being simply official or Court art. The
+designers and builders, sculptors and artists, were, he thinks, not
+Persians, but Greeks. The architect of the palaces of Darius was a
+Greek or a Phoenician.--_New York Times._
+
+
+
+
+[Illustration: TRADE SURVEYS]
+
+
+There are signs of a subsidence of popular hostility to railroad
+combinations, trusts and commercial and manufacturing organizations of
+various kinds intended to conserve mutual interests. If the granger
+spirit had its own way it would, through its control of the
+legislative mills, grind a good many corporations to powder, and do
+tenfold more damage by its destructive methods than could possibly be
+repaired by mistaken remedies. It is, after all, a question whether
+any form of combination is possible which can very long do much damage
+to the people at large. These gigantic commercial and railroad
+organizations with which we have recently become familiar are
+giant-like efforts of enormous interests to rise up out of old
+conditions. Progress and development must take place, and the efforts
+of trusts, associations and combinations by whatever name known are
+simply the preliminary movements of mighty interests to reorganize
+themselves upon a broader and higher platform. The people in their
+jealousy and anxiety to protect themselves have, in some sections of
+the country, run into the adoption of extreme measures. They are
+already preparing to retrace their steps, and for several reasons.
+They are discovering that they have been fighting a bugbear; also,
+that their legislation against the bugbear cannot legislate. Also,
+that money stays away from radical communities, that many possible
+advantages are lost; that combinations properly controlled have,
+within themselves, the capabilities of accomplishing much good.
+Despite the threatened damage of these monster combinations prices
+have been quietly and steadily declining in nearly every direction;
+railroad freights have slipped down, notch after notch. Association
+after association has come and gone, and the Interstate Railway Law
+itself is in danger of being set aside for something better. The
+people are learning to have less fear of these combinations, and more
+confidence in themselves and for the underlying laws of trade. The
+year ends with gratifying results to business men in every avenue of
+activity. The action of the Treasury Department furnishes a hint to
+the country that a large supply of currency may soon become a
+necessity. The evil that would result from an unexpected and prolonged
+financial stringency cannot be measured. Over five thousand new
+corporations, firms and business associations have started in the
+South last year, as against something like 3,700 for 1888. Never in
+our history was there such an incubation of new business ventures. A
+stringency in money will destroy these by the thousand. Two or three
+scores of railroad enterprises which have reached the stage of
+bond-issuing would also be thrown aside, and thousands of enlargements
+of manufacturing and mining properties would be postponed; but it is
+useless to borrow trouble, or to paint dismal possibilities, as it is
+to be presumed that the people and their spokesmen fully understand
+the question. There is not a single branch of business in which
+reasonable fault can be found with results, excepting the one general
+result of very narrow margins. Consuming-capacity, on the whole, has
+increased. The wage-earners are earning as much as for years past, and
+are receiving more for their expenditures; that is to say, less of the
+product of labor in the aggregate is being absorbed by middlemen, or
+what might be termed non-productive agencies. The production of labor
+is being more evenly and equitably distributed than ever before. The
+ideal justice dreamed of by the philosophic socialists is within
+reach. In short, the wage-worker is better off, has more advantages,
+greater opportunities, and is yearly becoming a more important factor
+in the Government.
+
+As long as railway gross and net earnings continue to improve no
+reaction is to be feared, according to the dictum of Wall Street.
+There are strong probabilities that the favorable showing will
+continue. The anthracite coal production for 1889 foots up 35,200,000
+tons, as against 38,145,718 tons for 1888. The distribution of soft
+coal throughout the New England and Middle States for steam-raising
+and general manufacturing purposes is gradually increasing. Last
+week's distribution of Connellsville coke reached the unprecedented
+figures of 125,000 tons. The production for the year foots up over
+4,500,000 tons. The expansion and development of industries throughout
+the Middle and Southern States continues, and hundreds of new
+enterprises will take shape early in the spring. Iron and steel makers
+are projecting new furnaces and mills in Pennsylvania, Ohio, Kentucky,
+Tennessee and Alabama. Some forty or fifty cotton mills are projected
+between Georgia and Texas. Mining companies representing fully forty
+million dollars of capital--that is, actual working capital--will
+begin operations this winter along the eastern slope of the Rocky
+Mountains. Industrial and building activity will take a fresh start
+upon the Pacific coast. Among the branches which will be developed
+will be saw-mill and foundry building. Machinery, engines, castings of
+all kinds, stoves and small iron and wood work are in great demand all
+along the coast from the Columbia River to Los Angeles. A great deal
+of capital and enterprise has been encouraged thither during 1889,
+and, as a result, manufacturing is greatly stimulated. The Dominion
+Government is also alive to the importance of developing relations
+with Asiatic and other foreign countries, and ship-lines are projected
+from its western seaports to foreign countries. Railroad-building is
+also being greatly stimulated by private enterprise. A vast amount of
+capital is drifting into the Rocky Mountain and Pacific coast regions
+from Eastern cities, and a great empire is being built up there which
+will be a source of wealth to those who obtain possession of land,
+timber, minerals and manufacturing facilities before the general
+enhancement of values takes place. The benefits originally
+contemplated by the construction of the trans-continental roads are
+now only being felt in their intensity. Irrigation companies, heavily
+capitalized, are doing excellent work in reclaiming vast tracts which
+geographers declared lost to all future utility. Mining engineers who
+have made a very careful examination and survey of much Western
+territory in the interest of Boston and New York moneyed men furnish
+evidences of wealth in those sections, which cannot but bring to them
+the money and enterprise necessary to their full development. The
+smaller industries throughout the States east of the Mississippi River
+are all doing well. Manufacturers are making money, but not as rapidly
+as they would like. Competition is exercising a healthy restraining
+influence. Like interests are being drawn together through the spirit
+of organization. Manufacture and agriculture are evenly balancing
+themselves. Commercial failures for 1889 show a moderate increase,
+but, considering the rashness with which ill-equipped persons enter
+into business and manufacturing, it is surprising that the failures
+are so few.
+
+       *       *       *       *       *
+
+S. J. PARKHILL & CO., Printers, Boston.
+
+
+
+
+Transcriber's Note:
+
+Minor printer errors (omitted or incorrect punctuation, missing or
+transposed letters etc.) have been corrected without note. All
+remaining variations in spelling, hyphenation, etc. are preserved as
+in the original, with the following exceptions:
+
+ Page iv--Concontractors amended to Contractors--"Estimates.
+ Builders' and Sub-Contractors', 161"
+
+ Page iv--Judaean amended to Judean--"Judean Tombs, 117"
+
+ Page v--Scandinavan amended to Scandinavian--"Scandinavian
+ Art, 37, 53, 63"
+
+ Page v--Maxmilian amended to Maximilian--"Tomb. [of]
+ Maximilian at Innsbruck, 61"
+
+ Page vii--place name and page reference transposal
+ reversed--"Strozzi Palace, Florence, 70"
+
+ Page viii--Ruitz amended to Rintz--"Berlin, Ger. ... House
+ on the Yorkstrasse. Herr Rintz, ..."
+
+ Page viii--Willisch amended to Wellisch--"Buda-Pesth,
+ Austria. House of Herr Hatner. Alfred Willisch, ..."
+
+ Page viii--Felixtowe amended to Felixstowe--"Felixstowe,
+ Eng. The Gables." etc.
+
+ Page viii--repeated 'the' deleted--"Painting by Puvis de
+ Chavannes in the Grand Hall ..."
+
+ Page 5--succedded amended to succeeded--"... far from
+ honourable, have succeeded in getting control ..."
+
+ Page 7--scholorship amended to scholarship--"... to whom
+ scholarship is dear ..."
+
+ Page 9--argillacious amended to argillaceous--"... of a
+ loose argillaceous irony matter ..."
+
+ Page 9--repeated 'is' deleted--"... showing that it is not
+ its geological position ..."
+
+ Page 11--gripe amended to grip--"... carrying a lion whose
+ dreadful grip his frantic rearing cannot loosen."
+
+The index entry on p vi, Suggestion for the Executive Mansion by
+Theodore F. Laist, etc. has no page reference in the original
+publication.
+
+The word Phoenician was printed with an oe ligature. This has not been
+retained in this version.
+
+Illustrations have been shifted slightly so as not to fall in the
+middle of paragraphs.
+
+
+
+
+
+End of the Project Gutenberg EBook of The American Architect and Building
+News, Vol. 27, Jan-Mar, 1890, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK AMERICAN ARCHITECT ***
+
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