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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 01:44:04 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 01:44:04 -0700 |
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diff --git a/21596-h/21596-h.htm b/21596-h/21596-h.htm new file mode 100644 index 0000000..6dc2a32 --- /dev/null +++ b/21596-h/21596-h.htm @@ -0,0 +1,5747 @@ +<!DOCTYPE html PUBLIC "-//W3C//DTD XHTML 1.0 Strict//EN" + "http://www.w3.org/TR/xhtml1/DTD/xhtml1-strict.dtd"> + +<html xmlns="http://www.w3.org/1999/xhtml"> + <head> + <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" /> + <title> + The Project Gutenberg eBook of The American Architect and Building News, Vol. 27, No. 732, by Various. + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + + table {margin-left: auto; margin-right: auto;} + + body{margin-left: 10%; + margin-right: 10%; + } + + a {text-decoration: none;} + + img {border: none;} + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + } /* page numbers */ + + .blockquot{margin-left: 5%; margin-right: 10%;} + + .bbox {border: solid 2px; padding: 1em;} + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + + .caption {font-weight: bold;} + + .figcenter {margin: auto; text-align: center;} + + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top: + 1em; margin-right: 1em; padding: 0; text-align: center;} + + .footnotes {border: dashed 1px;} + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align: .2em; font-size: .8em; text-decoration: none;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} + + .tdl {text-align: left; vertical-align: top;} /* left align cell */ + .tdr {text-align: right; vertical-align: top;} /* right align cell */ + .tdrb {text-align: right; vertical-align: bottom;} /* right align cell to bottom */ + .tdlsc {text-align: left; vertical-align: top; font-variant: small-caps;} /* left align cell small caps font */ + .tdlp {text-align: left; vertical-align: top; padding-left: 2em; padding-right: 2em;} /* left align cell with padding */ + + .address {text-align: right; padding-right: 3em;} /* right align letter addresses */ + .author {text-align: right; font-variant: small-caps; padding-right: 3em;} /* right align and smallcap writer's name */ + + .padtop {text-align: center; padding-top: 2em;} /* to create space between illustration list items */ + + .ditto1 {padding-left: .5em; padding-right: .5em;} + .ditto1a {padding-left: .75em; padding-right: .75em;} + .ditto2 {padding-left: 1em; padding-right: 1em;} + .ditto2a {padding-left: 1.25em; padding-right: 1.25em;} + .ditto3 {padding-left: 1.5em; padding-right: 1.5em;} + .ditto3a {padding-left: 1.75em; padding-right: 1.75em;} + .ditto4 {padding-left: 2em; padding-right: 2em;} + .ditto4a {padding-left: 2.25em; padding-right: 2.25em;} + .ditto5 {padding-left: 2.5em; padding-right: 2.5em;} + .ditto5a {padding-left: 2.75em; padding-right: 2.75em;} + +span.dropcap { display: none; } /* this goes around the first letter of the first word */ +/* You need a unique span like this for each of your drop cap images */ +span.dropcape { float: left; + height: 70px; width: 51px; /* adjust for your image */ + margin: 0 1em 1em 0; + background: url("images/aabn_e.png") no-repeat top left; + } +span.dropcapm { float: left; + height: 70px; width: 51px; /* adjust for your image */ + margin: 0 1em 1em 0; + background: url("images/aabn_m.png") no-repeat top left; + } +span.dropcaps { float: left; + height: 70px; width: 38px; /* adjust for your image */ + margin: 0 1em 1em 0; + background: url("images/aabn_s.png") no-repeat top left; + } +span.dropcapt { float: left; + height: 70px; width: 51px; /* adjust for your image */ + margin: 0 1em 1em 0; + background: url("images/aabn_t.png") no-repeat top left; + } +span.dropcapw { float: left; + height: 70px; width: 77px; /* adjust for your image */ + margin: 0 1em 1em 0; + background: url("images/aabn_w.png") no-repeat top left; + } + + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<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 & Co.</span> Printers<br /> +Boston Mass.</p> + +<p> +<br /> +<br /> +<br /> +</p> + +<p><span class='pagenum'><a name="Page_iii" id="Page_iii">[Pg 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—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>:—<br /> +<span style="margin-left: 1em;">Fall of a Hotel in Sydney, N.S.W., 184</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto1"> “ </span>“ Scaffold, 104</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto1"> “ </span> St. Louis Academy of Music, 66</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto1"> “ </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"> “ </span> Illinois Chapter of, 182<br /> +<span class="ditto2"> “ </span> Philadelphia Chapter, 46<br /> +<span class="ditto2"> “ </span> St. Louis Chapter, 206<br /> +<span class="ditto2"> “ </span> Washington Chapter, 43<br /> +Amsterdam. High-level Bridge for, 47<br /> +Ancient Architecture, 19, 35, 51<br /> +André, Architect. Death of Jules, 145<br /> +<span class="ditto2"> “ </span> The Career of M. Jules, 162<br /> +“Angelus.” Millet’s, 12<br /> +Apartment-house. The, 3<br /> +<span class="smcap">Archæological</span>:—<br /> +<span style="margin-left: 1em;">Burial Mounds, 99, 151</span><br /> +<span style="margin-left: 1em;">Cleopatra’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"> “ </span> Exploring Expedition. A New, 112</span><br /> +<span style="margin-left: 1em;"><span class="ditto3"> “ </span> Ruins and Works of Art in, 58</span><br /> +Arches. Concrete, 1<br /> +<span class="smcap">Architect</span>:—<br /> +<span style="margin-left: 1em;">New York State. The, 206</span><br /> +<span class="smcap">Architects</span>:—<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;"> “ 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>:—<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"> “ </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"> “ </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>:—<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;"> “ 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"> “ </span> of the Vikings. The, 37, 53<br /> +<span class="ditto1"> “ </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"> “ </span> Fortifications, 179<br /> +<span class="ditto3"> “ </span> Tombs, 116, 144<br /> +Australia. Engineering Triumphs in, 106<br /> +<span class="ditto3"> “ </span> Letters from, 106, 183<br /> +<span class="ditto3"> “ </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>:—<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’s Works near. The, 188</span><br /> +<span style="margin-left: 1em;">Railway. The proposed “Belt Line,” 188</span><br /> +Balveny Castle, Scotland, 61<br /> +Barye Exhibition. The, 10<br /> +Barye’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"> “ </span> Technical College. The, 140<br /> +Beryt or Fluid Marble, 160<br /> +Bids. The Right of Revising, 194<br /> +“Black-lining”? What is, 65<br /> +Books on School-houses, 207<br /> +Borrowing Suburban Fire-Engines, 18, 146<br /> +<span class="smcap">Boston</span>:—<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’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"> “ </span> for Amsterdam. High-level, 47<br /> +<span class="ditto2"> “ </span> Testing the Forth, 160<br /> +<span class="ditto2"> “ </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"> “ </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>:—<br /> +<span style="margin-left: 1em;">Committee. A Competitor’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’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 & Root’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"> “ </span> Proposed Public Buildings in, 104<br /> +<span class="ditto3"> “ </span> The History of Education in, 183<br /> +<span class="ditto3"> “ </span> The Registration of Architects in, 183<br /> +Cast-iron and its Treatment for Artistic Purposes, 201<br /> +<span class="ditto3"> “ </span> Pavements, 192<br /> +Castle Campbell, Scotland, 127<br /> +<span class="ditto2"> “ </span> of St. Angelo, Rome. The, 208<br /> +<span class="ditto2"> “ </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"> “ </span> Drawings at the League Exhibition, 30, 62<br /> +<span class="ditto3a"> “ </span> of Mons. The, 114<br /> +<span class="ditto3a"> “ </span> St. Machar. The, 27<br /> +<span class="ditto3a"> “ </span> Strasbourg, 153<br /> +<span class="ditto3a"> “ </span> The Completion of Milan, 130<br /> +<span class="ditto3a"> “ </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. Mediæval, 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>:—<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’s Fair. The, 177, 182</span><br /> +Chimney. A Tall, 16<br /> +<span class="ditto3"> “ </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"> “ </span> Towers, 91, 92, 102<br /> +Churches. The Picturesque Lighting of, 146<br /> +Cippi, 134<br /> +Circular Annoyance. The, 194<br /> +“City of the Gods,” Mexico. The, 172<br /> +Civil and Domestic Architecture, 19, 35, 51, 67, 83<br /> +Clark, Architect. Death of George, 63<br /> +Cleopatra’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;">“ <span class="ditto5"> “ </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>:—<br /> +<span style="margin-left: 1em;">Drawings, 40, 62, 65</span><br /> +<span class='pagenum'><a name="Page_iv" id="Page_iv">[Pg 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’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 /> +“Concrete.” Laying a Foundation of Dry, 113<br /> +Concrete. Wrong Methods of Mixing, 114<br /> +Condé. Fremiet’s Figure of, 76<br /> +Congressional Palace. The Mexican, 96<br /> +Construction. Cohesive, 123<br /> +<span class="ditto5"> “ </span> German, 155<br /> +<span class="ditto5"> “ </span> Improvements in Mill, 177<br /> +<span class="ditto5"> “ </span> Slow-burning, 29, 97<br /> +Contract. The Lowell City-hall, 194<br /> +<span class="ditto3"> “ </span> “Standard Form” of, 81<br /> +<span class="ditto3"> “ </span> taking Labor Syndicates, 194<br /> +Contracting Syndicate. Proposed, 81<br /> +Contractors. Great, 95<br /> +Contractor’s Profit-sharing. A, 2, 43<br /> +Contracts. German Building, 82<br /> +<span class="ditto3a"> “ </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’s Trouble through Prescribing, 66<br /> +Drawings at Architectural League Exhibition, 40, 57, 143<br /> +<span class="ditto2a"> “ </span><span class="ditto1"> “ </span> Philadelphia. Exhibition of Architectural, 107, 146<br /> +<span class="ditto2a"> “ </span>“Black-lining” 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"> “ </span> Fortifications. Ancient, 179<br /> +<span class="ditto3"> “ </span> Tombs, 99, 115<br /> +Eight-hour Movement. The, 1, 93, 194<br /> +<span class="smcap">Electric</span>:—<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"> “ </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>:—<br /> +<span style="margin-left: 1em;">Bridge. A complete Account of the Forth, 177</span><br /> +<span style="margin-left: 1em;"><span class="ditto2a"> “ </span> for Amsterdam. High-level, 47</span><br /> +<span style="margin-left: 1em;"><span class="ditto2a"> “ </span> London’s Tower, 192</span><br /> +<span style="margin-left: 1em;"><span class="ditto2a"> “ </span> Testing the Forth, 160</span><br /> +<span style="margin-left: 1em;"><span class="ditto2a"> “ </span> The Hawkesbury Railway, 106</span><br /> +<span style="margin-left: 1em;"><span class="ditto2a"> “ </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"> “ </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"> “ </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"> “ </span><span class="ditto1"> “ </span> St. Clair River, 128</span><br /> +<span style="margin-left: 1em;"><span class="ditto2a"> “ </span><span class="ditto1"> “ </span> Washington Aqueduct, 103</span><br /> +<span style="margin-left: 1em;">Water-power. A Remarkable, 47</span><br /> +“Entombment” 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’ and Sub-Contractors’, 161<br /> +Ethnology’s Fifth Annual Report. The Bureau of, 151<br /> +Etruscan Architecture, 36<br /> +<span class="ditto3"> “ </span>Tombs, 131<br /> +Evanston, Ill. Architecture at, 118<br /> +Evaporation of Water in Traps, 15<br /> +Examinations and Diplomas. Architects’, 162<br /> +<span class="smcap">Exhibition</span>:—<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>:—<br /> +<span style="margin-left: 1em;">of Architectural Drawings at Philadelphia, 107, 146</span><br /> +<span class="smcap">Exposition of 1889</span>:—<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;">“<span class="ditto1"> “ </span> St. Louis Academy of Music, 66</span><br /> +<span style="margin-left: 1em;">“<span class="ditto1"> “ </span> the Roof of the Flora Hall, Hamburg, 196</span><br /> +Ferstel. Baron, 66<br /> +Feudal Military Architecture, 195<br /> +Fifteenth Century “Working-day.” A, 155<br /> +<span class="smcap">Fire</span>:—<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’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"> “ </span> Whitewash, 208<br /> +<span class="smcap">Fires</span>:—<br /> +<span style="margin-left: 1em;">in American Cities, 97</span><br /> +<span style="margin-left: 1.25em;"> “ Mills. Extinguishing, 177</span><br /> +<span style="margin-left: 1em;">Water Used in Boston, 79</span><br /> +“Flats,” 3<br /> +Flues. Floor-beams and, 146<br /> +Floor. Beams and Flues, 146<br /> +<span class="ditto2"> “ </span>The Schneider Fireproof, 158<br /> +Font in St. Peter Mancroft, 62<br /> +Forth Bridge Issue of “<i>Engineering</i>,” 177<br /> +<span style="margin-left: 1em;">“<span class="ditto3"> “ </span>Testing the, 160</span><br /> +Fortifications. Ancient Egyptian, 179<br /> +<span class="ditto5"> “ </span> Assyrian, 179<br /> +<span class="ditto5"> “ </span> Greek, 179<br /> +<span class="ditto5"> “ </span> Modern, 195<br /> +<span class="ditto5"> “ </span> Roman, 180<br /> +Foundation of Dry “Concrete.” A, 113<br /> +Foundations. A New Process of Preparing, 160<br /> +France. Architectural Education in, 162<br /> +Frederick the Great’s Tomb, 144<br /> +Freestone-Cutters. Lock-out among Boston, 161, 177<br /> +Fremiet’s Figure of Condé, 76<br /> +French Architects. Proposed Licensing of, 162<br /> +<span style="margin-left: 1em;">“<span class="ditto5"> “ </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’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"> “ </span> Construction, 155<br /> +Glass. The Duty on Window, 31<br /> +<span class="ditto2"> “ </span> The Salviati Murano, 207<br /> +<span class="ditto2"> “ </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"> “ </span> Fortifications, 179<br /> +<span class="ditto2"> “ </span> Mouldings, 139<br /> +<span class="ditto2"> “ </span> Tombs, 131<br /> +“Gods,” Mexico. “The City of the,” 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"> “ </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"> “ </span> at the Pyramids. A, 160<br /> +House of St. Simon, Angoulême, 61<br /> +Houses for Workingmen, 105<br /> +Hungary. Railway Zones in, 178<br /> +Hydraulic Power in London, 155<br /> +<span class="ditto3"> “ </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;">“ Skating-rink. An Artificial, 145</span><br /> +<span style="margin-left: 0.5em;">“ 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"> “ </span><span class="ditto1"> “ </span> School-houses. State, 129<br /> +Insurance. A Question of, 18, 146<br /> +<span class="ditto3a"> “ </span> and Electricity, 79<br /> +<span class="ditto3a"> “ </span> and Safe Building, 49, 97<br /> +<span class="ditto3a"> “ </span> Company. Annual Report of Boston Manufacturers Mutual Fire, 177<br /> +<span class="ditto3a"> “ </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’s Drawings. Mr. H. P., 107<br /> +</p> + + +<p><a name="L" id="L"></a> +Labor Syndicates. Contract-taking, 194<br /> +<span class="ditto2"> “ </span> Troubles, 130, 161, 177, 193<br /> +Lamp-post Directory. A, 98<br /> +Land Values in Milwaukee, 160<br /> +“Lantern of the Dead.” The, 164<br /> +Laths. A Corner in, 192<br /> +Lead-pencils, 178<br /> +League Exhibition. The Architectural, 40, 57, 143<br /> +Leclère Prize. The Achille, 50<br /> +<span class="smcap">Legal</span>:—<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’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’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’s, 194</span><br /> +<span style="margin-left: 1em;">“Trolley” 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>:—<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’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>:—<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’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’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"> “ </span> Beryt or Fluid, 160<br /> +Marcus Curtius. Statue of, 172<br /> +Massachusetts. State Inspection of School-houses in, 129<br /> +Master-builders’ 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"> “ </span><span class="ditto1"> “ </span> The Late John, 48<br /> +Mediæval Architecture, 52, 67<br /> +<span class="ditto3a"> “ </span> Cemeteries, 164<br /> +<span class="ditto3a"> “ </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"> “ </span> Pyramids, 172<br /> +Mexico. A Titian “Entombment” in, 60<br /> +<span class="ditto3"> “ </span> “The City of the Gods,” 172<br /> +Milan Cathedral. The Completion of, 130<br /> +Military Architecture, 179, 195<br /> +Mill-construction. Improvements in, 177<br /> +Millet’s “Angelus,” 12<br /> +Milwaukee. Land Values in, 160<br /> +Missouri State Association of Architects, 46<br /> +Modern Fortifications, 195<br /> +<span class="ditto2a"> “ </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"> “ </span><span class="ditto1"> “ </span> Prison-ship Martyrs, 128<br /> +Monuments. Equestrian, 72, 170<br /> +<span class="ditto4a"> “ </span> Funerary, 99, 115, 131, 147, 163<br /> +<span class="ditto4a"> “ </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"> “ </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>:—<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"> “ </span> Warfare on, 10<br /> +<span class='pagenum'><a name="Page_v" id="Page_v">[Pg v]</a></span> +Obelisk. Protection of the New York, 198, 207<br /> +<span class="smcap">Obituary</span>:—<br /> +<span style="margin-left: 1em;">André. 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. Eugène, 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’s, 50<br /> +Ontario Association of Architects, 41<br /> +Open-fireplace Throat. The, 159<br /> +Oriental Textiles at Berlin, 175<br /> +<span class="ditto2a"> “ </span> Tombs, 148<br /> +Oudinot, Glass-stainer. Death of Eugène, 81<br /> +Owner’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"> “ </span> <span class="ditto1"> “ </span> <span class="ditto1"> “ </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>:—<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 Blé. 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>:—<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"> “ </span> Tombs, 117<br /> +<span class="smcap">Philadelphia</span>:—<br /> +<span style="margin-left: 1em;">Architectural Exhibition at the Art Club, 146</span><br /> +<span style="margin-left: 4em;">“<span class="ditto5"> “ </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’ Attempt to Discipline Architects. The, 161</span><br /> +<span style="margin-left: 1em;">T-Square Club, 206</span><br /> +Phœnician Architecture, 20<br /> +<span class="ditto3a"> “ </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"> “ </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"> “ </span> Lost by Radiation of Heat, 22, 156<br /> +Prehistoric Ruins of Yucatan. The, 58<br /> +Prints. Arranging Architectural, 207<br /> +Prison-ship Martyrs’ Monument. The, 128<br /> +Prize-winners. The R.I.B.A., 104<br /> +Profit-sharing. A Contractor’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"> “ </span> A Hotel at the, 160<br /> +<span class="ditto3"> “ </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"> “ </span> An Architect’s Suit against a, 194<br /> +Railway Bridge. The Hawkesbury, 106<br /> +<span class="ditto2a"> “ </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"> “ </span> Tombs, 165<br /> +Report of Boston Manufacturers Mutual Fire Insurance Company. Annual, 177<br /> +<span class="ditto2a"> “ </span> The Bureau of Ethnology’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"> “ </span> Catholic Buildings in Australia, 107<br /> +<span class="ditto2a"> “ </span> Fortifications, 180<br /> +<span class="ditto2a"> “ </span> Tombs, 133<br /> +Romanesque Tombs, 163<br /> +<span class="smcap">Rome</span>:—<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’s Abbey. The Restoration of, 42<br /> +<span style="margin-left: 0.5em;">“ Angelo, Rome. The Castle of, 208</span><br /> +<span style="margin-left: 0.5em;">“ Clair River Tunnel. The, 128</span><br /> +<span style="margin-left: 0.5em;">“ Emilion. The Monolithic Church of, 16</span><br /> +<span style="margin-left: 0.5em;">“ Louis Academy of Music. Fall of, 66</span><br /> +<span style="margin-left: 0.5em;">“ <span class="ditto1a"> “ </span> Chapter, A.I.A., 206</span><br /> +<span style="margin-left: 0.5em;">“ Regulus Church. St. Andrews, 45</span><br /> +<span style="margin-left: 0.5em;">“ Salvator’s Church, St. Andrews, 46</span><br /> +<span style="margin-left: 0.5em;">“ Saviour’s, Southwark. The Restoration of, 43</span><br /> +<span style="margin-left: 0.5em;">“ 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>:—<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"> “ </span> House at Evanston, Ill. A, 118<br /> +<span class="ditto2a"> “ </span> <span class="ditto2"> “ </span> The Model, 82<br /> +<span class="ditto2a"> “ </span> Houses. Books on, 207<br /> +<span class="ditto2a"> “ </span> <span class="ditto2a"> “ </span> The Ventilation of 82, 129<br /> +Sculpture and Architecture, 7<br /> +<span class="ditto3a"> “ </span> Pirating, 160<br /> +<span class="ditto3a"> “ </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’ 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 /> +“Spectator” on the Underwriters’ 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"> “ </span> of the Emperor Frederick. A, 208<br /> +Steam-pipes and Woodwork, 48<br /> +<span class="ditto4a"> “ </span> Coverings for, 22, 156<br /> +Steel Company’s Works near Baltimore. The Pennsylvania, 188<br /> +Stelæ, 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"> “ </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’s War. The, 72<br /> +Thoughts for Young Architects. Stray, 90<br /> +Titian “Entombment” in Mexico. A, 60<br /> +Tobacco in England. The first Use of, 110<br /> +Tomb. Cleopatra’s, 141<br /> +<span class="ditto2a"> “ </span> Frederick the Great’s, 144<br /> +<span class="ditto2a"> “ </span> of Cecilia Metella, 134<br /> +<span class="ditto2a"> “ </span> “ Maximilian at Innsbruck, 61<br /> +<span class="smcap">Tombs</span>:—<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;">Mediæval, 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;">Phœnician, 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>:—<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"> “ </span> The Watkin, 16, 105<br /> +Towers and Domes. Spires, 91, 101<br /> +Towns. The Laying-out of, 184<br /> +Tracy’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 /> +“Trolley” 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;">“<span class="ditto2"> “ </span> St. Clair River, 128</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto2"> “ </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"> “ </span> Work. A Cheap Paint for, 146<br /> +Understanding between Architect and Client. The, 159<br /> +Underwriter’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’s Sketches at the League Exhibition. Mr., 57, 143<br /> +<span class="smcap">Washington</span>:—<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’ Home Building. The, 143</span><br /> +<span style="margin-left: 1em;">Tracy’s House. The Fire in Secretary, 186</span><br /> +Water-color Drawings. Architectural, 107<br /> +<span class="ditto4a"> “ </span> Painting. Books on, 31<br /> +Waterhouse’s Annual Address before the R.I.B.A. Mr., 42<br /> +Water-power. A Remarkable, 47<br /> +<span class="ditto2"> “ </span> supply of London. The, 156<br /> +<span class="ditto2"> “ </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 /> +“Working-day.” A Fifteenth-century, 155<br /> +Working-drawings, 63<br /> +World’s Fair. The Chicago, 177, 182<br /> +</p> + + +<p><a name="Y" id="Y"></a> +Yucatan. Ancient Temples of, 204<br /> +<span class="ditto3"> “ </span> Exploring Expedition. A New, 112<br /> +<span class="ditto3"> “ </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 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 & Farmer, Architects, 741<br /> +Cottage at Tuxedo, N.Y. Renwick, Aspinwall & Russell, Architects, 744<br /> +<span class="ditto2a"> “ </span> for Dr. T. H. Willard, Jr., Greenville, N.Y. Adolph Haak, Architect, 737<br /> +House at Malden, Mass. Chamberlin & Whidden, Architects, 738<br /> +<span class="ditto2"> “ </span> “ Rochester, N.Y. W. C. Walker, Architect, 736<br /> +<span class="smcap">House of</span>:—<br /> +<span style="margin-left: 1em;">J. R. Burnett, Orange, N.J. F. W. Beall, Architect, 743</span><br /> +<span style="margin-left: 1em;">C. H. Elmendorff, Kearney, Neb. Frank, Bailey & 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 & 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 & 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"> “ </span><span class="ditto1"> “ </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 & Rice, Architects, 740<br /> +Suggestion for the Executive Mansion by Theodore F. Laist. Successful Design for the American Architect Travelling-Scholarship.<br /> +Workman’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 & Cobb, Architects, 737<br /> +Cathedral of St. Machar, Aberdeen, Scotland, 733<br /> +Chapel, St. Paul’s School, Concord, N.H. Henry Vaughan, Architect, 742<br /> +Competitive Design for First Baptist Church, Malden, Mass. Lewis & Phipps, Architects, 740<br /> +<span class="smcap">Competitive Design for the</span>:—<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 & 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 & 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 & Dockstader, Architects, 739<br /> +Memorial “Church of the Angels,” 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"> “ </span> Luke’s Church, Mansfield, O. W. G. Preston, Architect, 744<br /> +<span class="ditto1"> “ </span> Regulus’s Church, St. Andrews, Scotland, 734 (<i>Imp.</i>)<br /> +<span class="ditto1"> “ </span> Salvator’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 & Hough, Architects, 742<br /> +</p> + + +<p><b>EDUCATIONAL.</b></p> + +<p> +High School, Cambridge, Mass. Chamberlin & Austin, Architects, 743<br /> +<span style="margin-left: 1em;">“<span class="ditto3"> “ </span> Los Angeles, Cal. J. N. Preston & 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’s Church, St. Andrews, Scotland, 734 (<i>Imp.</i>)<br /> +<span style="margin-left: 0.5em;">“ Salvator’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"> “ </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 & Green, Architects, 734<br /> +Building for the Boston Real Estate Trust. Cabot, Everett & 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 & 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 & 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 & Son, Architects, 738<br /> +<span class="ditto3a"> “ </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"> “ </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’s Cathedral, 733<br /> +<span style="margin-left: 0.5em;">“ Regulus’s Church, 734 (<i>Imp.</i>)</span><br /> +<span style="margin-left: 0.5em;">“ Salvator’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 /> +Nôtre 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.—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.’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 & 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 Cochère, 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’s Wood, Chislehurst, Eng. Ernest Newton, Architect, 733<br /> +Castle Campbell, Clackmannan, Scotland, 739<br /> +Cawdor Castle, Nairn, Scotland, 738<br /> +Château 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;">“<span class="ditto1"> “ </span> Goring-on-Thames, Eng. Geo. W. Webb, Architect, 740</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto1"> “ </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"> “ </span> near Birmingham, Eng. Essex & Nicol, Architects, 743<br /> +<span class="smcap">House of</span>:—<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 & 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;">Señor Cuda, Santiago, Chili, 740 (<i>Gel.</i>)</span><br /> +<span style="margin-left: 1em;">Mrs. S. T. Everett, Cleveland, O. C. F. & J. A. Schweinfurth, Architects, 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 & Tilden, Architects, 740</span><br /> +<span style="margin-left: 1em;">G. M. Smith, Providence, R.I. Stone, Carpenter & Willson, Architects, 733 (<i>Gel.</i>)</span><br /> +<span style="margin-left: 1em;">St. Simon, Angoulême, France, 735</span><br /> +House on the Rauchstrasse, Berlin, Germany. Kaiser & Grossheim, Archts., 741 (<i>Gel.</i>)<br /> +<span style="margin-left: 1.5em;">“<span class="ditto1"> “ </span><span class="ditto1"> “ </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’ Church, Leek, Eng. R. Norman Shaw, Architect, 735<br /> +<span style="margin-left: 0.5em;">“<span class="ditto2a"> “ </span><span class="ditto2a"> “ </span> London, Eng. Christopher & 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;">“<span class="ditto1"> “ </span> St. John the Baptist, Reading, Eng. E. Prioleau Warren, Architect, 737</span><br /> +<span style="margin-left: 1.75em;">“<span class="ditto1"> “ </span><span class="ditto1"> “ </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>:—<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;">“<span class="ditto1a"> “ </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;">“<span class="ditto1a"> “ </span> the Cathedral, Albi, France, 734 (<i>Gel.</i>)</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto1a"> “ </span><span class="ditto1"> “ </span> Hofkirche with Tomb of Maximilian I, Innsbruck, Austria, 735 (<i>Gel.</i>)</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto1a"> “ </span><span class="ditto1"> “ </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 & Hellicar, Architects, 739<br /> +<span class="smcap">Competitive design for</span>:—<br /> +<span style="margin-left: 1em;">Gymnasium for Brown University, Providence, R.I.</span><br /> +<span style="margin-left: 2em;">Gould & Angell, Architects, 741</span><br /> +<span style="margin-left: 2em;">Stone, Carpenter & Willson, Architects, 741</span><br /> +Design for a Board School. Geo. W. Webb, Architect, 733<br /> +Old Façade, 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’ Company’s Schools, Hackney Downs, Eng. Henry C. Boyes, Architect, 736<br /> +</p> + +<p><span class='pagenum'><a name="Page_vii" id="Page_vii">[Pg vii]</a></span></p> +<p><b>FOREIGN.</b></p> + +<p> +All Saints’ Church, Leek, Eng. R. Norman Shaw, Architect, 735<br /> +<span style="margin-left: 0.5em;">“<span class="ditto2a"> “ </span><span class="ditto2a"> “ </span> London, Eng. Christopher & White, Archts., 743</span><br /> +Arch of Septimus Severus, Rome, Italy, 734<br /> +Auditorium of the Palace of the Trocadéro, Paris, France, 732 (<i>Gel.</i>)<br /> +“Bargello,” Florence, Italy. The, 734<br /> +Black Knoll, Brockenhurst, Eng. R. T. Blomfield, Architect, 742<br /> +Board School, Bromley, Kent, Eng. Vacher & Hellicar, Architects, 739<br /> +Business Premises, London, Eng. Frederick Wallen, Architect. 738<br /> +Butler’s Wood, Chislehurst, Eng. Ernest Newton, Architect, 733<br /> +“Ca’ d’Oro,” 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 /> +Château 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;">“<span class="ditto1"> “ </span> St. John the Baptist, Reading, Eng. E. Prioleau Warren, Architect, 737</span><br /> +<span style="margin-left: 1.75em;">“<span class="ditto1"> “ </span><span class="ditto1"> “ </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 & 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"> “ </span> Coombe House, near Shaftesbury, Eng. E. Towry White, Architect, 736<br /> +<span class="ditto1a"> “ </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;">“<span class="ditto1"> “ </span> Goring-on-Thames, Eng. Geo. W. Webb, Architect, 740</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto1"> “ </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"> “ </span> near Birmingham, Eng. Essex & Nicol, Architects, 743<br /> +<span class="smcap">House of</span>:—<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;">Señor 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, Angoulême, France, 735</span><br /> +House on the Rauchstrasse, Berlin, Germany. Kaiser & Grossheim, Archts., 741 (<i>Gel.</i>)<br /> +<span style="margin-left: 1.5em;">“<span class="ditto1"> “ </span><span class="ditto1"> “ </span> Yorkstrasse, Berlin, Germany. Herr Rintz, Architect, 744 (<i>Gel.</i>)</span><br /> +Interior in the Château de Josselin, Morbihan, France, 732, 733 (<i>Gel.</i>)<br /> +<span style="margin-left: 1.5em;">“ of St. Paul Extra Muros, Rome, Italy, 734 (<i>Gel.</i>)</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto1a"> “ </span> the Cathedral, Albi, France, 734 (<i>Gel.</i>)</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto1a"> “ </span><span class="ditto1"> “ </span> Hofkirche, with Tomb of Maximilian I, Innsbruck, Austria, 735 (<i>Gel.</i>)</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto1a"> “ </span><span class="ditto1"> “ </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 /> +“Lloyds,” 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"> “ </span> Premises, Chester, Eng. T. M. Lockwood, Architect, 737<br /> +Official Residence of the Intendente, Santiago, Chili, 734<br /> +Old Façade, 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;">“<span class="ditto1a"> “ </span>the Liberal Arts, Paris, France. J. C. Formigé, 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 Cochère, 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;">“<span class="ditto2"> “ </span><span class="ditto1"> “ </span> Santiago, Chili, 736 (<i>Gel.</i>)</span><br /> +Swimming-bath and Gymnasium, Grocers’ Company’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 Trocadéro, Paris, France, 732<br /> +Capitals from Chamber of Commerce, Cincinnati, O. H. H. Richardson and Shepley, Rutan & Coolidge <i>Successors</i>, Architects, 740 (<i>Imp.</i>)<br /> +Cathedral, Quimper, France, 742<br /> +Château 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>:—<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 & 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;">Señor Cuda, Santiago, Chili, 740</span><br /> +<span style="margin-left: 1em;">Mrs. S. T. Everett, Cleveland, O. C. F. & 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 & Willson, Architects, 733 (<i>Imp.</i>)</span><br /> +House on the Rauchstrasse, Berlin, Germany. Kaiser & Grossheim, Architects, 741<br /> +House on the Yorkstrasse, Berlin, Germany. Herr Rintz, Archt., 744<br /> +Interior in the Château de Josselin, Morbihan, France, 732, 733<br /> +<span style="margin-left: 1.5em;">“ of St. Paul Extra Muros, Rome, Italy, 734</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto1a"> “ </span> the Cathedral, Albi, France, 734</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto1a"> “ </span><span class="ditto1"> “ </span> Hofkirche with Tomb of Maximilian I, Innsbruck, Austria, 735</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto1a"> “ </span><span class="ditto1"> “ </span> Recoletu Church, Santiago, Chili, 735</span><br /> +Interiors in House at Malden, Mass. Chamberlin & Whidden, Architects, 738 (<i>Imp.</i>)<br /> +“Lloyds,” Trieste, Austria. Baron Heinrich von Ferstel, Architect, 740<br /> +Old Façade, 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 Cochère, 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 Trocadéro, 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;">“<span class="ditto1"> “ </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"> “ </span> Coombe House, near Shaftesbury, Eng. E. Towry White, Architect, 736<br /> +<span class="ditto1a"> “ </span> Holcombe, Chatham, Eng. John Belcher, Architect, 738<br /> +Interior in the Château de Josselin, Morbihan, France, 732, 733 (<i>Gel.</i>)<br /> +<span style="margin-left: 1.5em;">“ of All Saints’ Church, Leek, Eng. R. Norman Shaw, Architect, 735</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto1a"> “ </span> St. Paul Extra Muros, Rome, Italy, 734 (<i>Gel.</i>)</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto1a"> “ </span> the Cathedral, Albi, France, 734 (<i>Gel.</i>)</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto1a"> “ </span><span class="ditto1"> “ </span> Hofkirche with Tomb of Maximilian I, Innsbruck, Austria, 735 (<i>Gel.</i>)</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto1a"> “ </span><span class="ditto1"> “ </span> Recoletu Church, Santiago, Chili, 735 (<i>Gel.</i>)</span><br /> +Interiors in House at Malden, Mass. Chamberlin & 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’ Company’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 /> +“Lloyds,” 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.’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’s Procession, 732<br /> +Italian Sketches, 734<br /> +“Lion and Serpent.” A. L. Barye, Sculptor, 732<br /> +New Year’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;">“<span class="ditto2"> “ </span><span class="ditto1"> “ </span> Santiago, Chili, 736 (<i>Gel.</i>)</span><br /> +Swimming-bath and Gymnasium, Grocers’ Company’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 & Bryan, Architects, 744<br /> +New Bourse du Commerce, Paris, France. H. Blondel, Architect, 735<br /> +Palace of the Liberal Arts, Paris, France. J. C. Formigé, 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 & Domestic Architecture</span>:—<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’Orléans, Paris, 88</span><br /> +<span style="margin-left: 1em;">Halle au Blé, Paris, 83, 84</span><br /> +<span style="margin-left: 1em;">Halles Centrales, Paris, 87, 88</span><br /> +<span style="margin-left: 1em;">Hôtel de Ville, Brussels, 67</span><br /> +<span style="margin-left: 2em;">“<span class="ditto1a"> “ </span><span class="ditto1a"> “ </span>Paris, 69</span><br /> +<span style="margin-left: 2em;">“<span class="ditto1a"> “ </span><span class="ditto1a"> “ </span>St. Antonin, France, 51</span><br /> +<span style="margin-left: 2em;">“ des Invalides, Paris, 70, 71</span><br /> +<span style="margin-left: 1em;">Library of St. Geneviève, 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;">Odéon, Paris. The, 84</span><br /> +<span style="margin-left: 1em;">Opéra-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 /> +“Dance,” Paris Opéra-House. Carpeaux’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>:—<br /> +<span style="margin-left: 1em;">Condé. 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>:—<br /> +<span style="margin-left: 1em;">Absalom’s Tomb, 116</span><br /> +<span style="margin-left: 1em;">Campo Santo at Genoa, 167</span><br /> +<span style="margin-left: 2em;">“ “ “ 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;">Mediæval Tombs, 163</span><br /> +<span style="margin-left: 1em;">Mougheir Tombs, 115</span><br /> +<span style="margin-left: 1em;">Phœnician 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"> “ </span> Columbarium, 134</span><br /> +<span style="margin-left: 2em;"><span class="ditto1"> “ </span> Funerary Urn, 134</span><br /> +<span class='pagenum'><a name="Page_viii" id="Page_viii">[Pg viii]</a></span> +<span style="margin-left: 1em;">Sepulchral Chapel at Paris, 167</span><br /> +<span style="margin-left: 1em;">Stelæ, 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 Brézé, 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 Mycenæ, 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>:—<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;">Phœnician House, 168</span><br /> +Horns. Golden, 55, 56<br /> +House of A. A. Carey, Cambridge, Mass. Sturgis & Brigham, Architects, 23<br /> +Impost, 50<br /> +Martyrs Column, Naples, Italy, 22<br /> +<span class="smcap">Military Architecture</span>:—<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 Château 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 /> +“Modern Improvements.” “All the,” 109, 141, 156, 174<br /> +Monument. Scandinavian, 55<br /> +<span class="ditto3a"> “ </span> to Egmont and Horn, Brussels, 9<br /> +<span class="ditto3a"> “ </span><span class="ditto1"> “ </span> Liszt, 5<br /> +<span class="ditto3a"> “ </span><span class="ditto1"> “ </span> Minine and Pojarsky, Russia, 27<br /> +<span class="ditto3a"> “ </span><span class="ditto1"> “ </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’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;">“<span class="ditto5a"> “ </span>Hall, Craigievar Castle, 743 (<i>Imp.</i>)</span><br /> +Albi, France. Interior of the Cathedral, 734 (<i>Int.</i>)<br /> +Angoulême, France. House of St. Simon, 735 (<i>Int.</i>)<br /> +Anniston, Ala. Anniston City Land Co. Building. Chisolm & 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;">“<span class="ditto2a"> “ </span> House on the Rauchstrasse. Kaiser & Grossheim, Architects, 741 (<i>Int.</i>)</span><br /> +<span style="margin-left: 1em;">“<span class="ditto2a"> “ </span> House on the Yorkstrasse. Herr Rintz, Architect, 744 (<i>Int.</i>)</span><br /> +Birmingham, Eng. House near, Essex & Nicol, Architects, 743 (<i>Int.</i>)<br /> +<span class="smcap">Boston, Mass.</span>:—<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 & Cabot, Architects, 732 (<i>Imp.</i>)</span><br /> +<span style="margin-left: 2.5em;">“<span class="ditto1"> “ </span> W. A. Burnham. E. C. Curtis, Archt., 739 (<i>Imp.</i>)</span><br /> +<span style="margin-left: 1em;">Sketch of Store. Wait & 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 & 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’s Roman Catholic Church Buildings. Parfitt Bros., Architects, 733 (<i>Reg.</i>)<br /> +<span style="margin-left: 2em;">“<span class="ditto3"> “ </span> Throop Avenue Presbyterian Church. Fowler & Hough, Architects, 742 (<i>Reg.</i>)</span><br /> +<span style="margin-left: 2em;">“<span class="ditto3"> “ </span> Vault, Greenwood Cemetery. Renwick, Aspinwall & 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 & 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;">“ <span class="ditto1a"> “ </span> Houses for Potter Palmer. C. M. Palmer, Architect, 735 (<i>Reg.</i>)</span><br /> +Chislehurst, Eng. Butler’s Wood. Ernest Newton, Architect, 733 (<i>Int.</i>)<br /> +Cincinnati, O. Capitals from Chamber of Commerce. H. H. Richardson and Shepley, Rutan & Coolidge, Successors, Architects, 740 (<i>Imp.</i>)<br /> +<span style="margin-left: 2em;">“ <span class="ditto1a"> “ </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;">“ <span class="ditto1a"> “ </span> House of Mrs. S. T. Everett. C. F. & J. A. Schweinfurth, Architects, 735 (<i>Imp.</i>)</span><br /> +Concord, N.H. Chapel, St. Paul’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 & 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 & 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 & 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 & Bryan, Architects, 744 (<i>Int.</i>)<br /> +Gardiner, Me. Baptist Church. Stevens & 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;">“ <span class="ditto2a"> “ </span>Railway Tavern. E. W. Farebrother, Architect, 738 (<i>Int.</i>)</span><br /> +Hackney Downs, Eng. Swimming-bath and Gymnasium, Grocers’ 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;">“ <span class="ditto3a"> “ </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 & Farmer, Architects, 741 (<i>Reg.</i>)<br /> +<span style="margin-left: 1.5em;">“ <span class="ditto3"> “ </span> House of C. H. Elmendorff. Frank, Bailey & Farmer, Architects, 737 (<i>Reg.</i>)</span><br /> +<span style="margin-left: 1.5em;">“ <span class="ditto3"> “ </span> House of Geo. W. Frank. Frank, Bailey & 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;">“<span class="ditto2a"> “ </span>All Saints’ 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>:—<br /> +<span style="margin-left: 1em;">All Saints’ Church. Christopher & White, Architects, 743 (<i>Int.</i>)</span><br /> +<span style="margin-left: 1em;">Business Premises. 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;">“<span class="ditto3"> “ </span><span class="ditto1a"> “ </span> High-School. J. N. Preston & Son, Archts., 738 (<i>Reg.</i>)</span><br /> +<span style="margin-left: 0.75em;">“<span class="ditto3"> “ </span><span class="ditto1a"> “ </span> Memorial “Church of the Angels.” 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 & Phipps, Architects, 740 (<i>Reg.</i>)<br /> +<span style="margin-left: 1.5em;">“<span class="ditto3a"> “ </span> House. Chamberlin & Whidden, Architects, 738 (<i>Reg.</i>)</span><br /> +<span style="margin-left: 1.5em;">“<span class="ditto3a"> “ </span> Interiors in House at. Chamberlin & Whidden, Architects, 738 (<i>Imp.</i>)</span><br /> +Mansfield, O. St. Luke’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. Château de Josselin, 733 (<i>Int.</i>)<br /> +<span style="margin-left: 2em;">“<span class="ditto4"> “ </span> Interior in the Château 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;">“<span class="ditto4"> “ </span><span class="ditto2"> “ </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 & Co., Archts., 736 (<i>Reg.</i>)<br /> +<span class="smcap">New York, N.Y.</span>:—<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 & 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.’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>:—<br /> +<span style="margin-left: 1em;">Auditorium of the Palace of the Trocadéro, 732 (<i>Int.</i>)</span><br /> +<span style="margin-left: 1em;">Central Dome of Exhibition Buildings, 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. Formigé, Architect, 735 (<i>Int.</i>)</span><br /> +<span style="margin-left: 1em;">Porte Cochère, 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>:—<br /> +<span style="margin-left: 1em;">Competitive Design for Gymnasium for Brown University. Gould & Angell, Architects, 741 (<i>Int.</i>)</span><br /> +<span style="margin-left: 1em;">Competitive Design for Gymnasium for Brown University. Stone, Carpenter & Willson, Archts., 741 (<i>Int.</i>)</span><br /> +<span style="margin-left: 1em;">House of E. D. Pearce. Rotch & Tilden, Archts., 740 (<i>Int.</i>)</span><br /> +<span style="margin-left: 2.5em;">“<span class="ditto1"> “ </span> G. M. Smith. Stone, Carpenter & 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;">“ <span class="ditto3"> “ </span> House of Albert Will. Otto Block, Architect, 735 (<i>Reg.</i>)</span><br /> +<span style="margin-left: 2em;">“ <span class="ditto3"> “ </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>:—<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;">“<span class="ditto1"> “ </span> Señor Cuda, 740 (<i>Int.</i>)</span><br /> +<span style="margin-left: 2.5em;">“<span class="ditto1"> “ </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 & 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;">“<span class="ditto3a"> “ </span>Palace of Count Pallavicini. Herr Von Hohenberg, Archt., 743 (<i>Int.</i>)</span><br /> +Wakefield, Mass. Congregational Church. Hartwell & 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> +Copyright, 1890, by <span class="smcap">Ticknor & Company</span>, +Boston, Mass. 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 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>—</td> + <td class="tdr"> </td> + </tr> + <tr> + <td class="tdlp">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.</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>—</td> + <td class="tdr"> </td> + </tr> + <tr> + <td class="tdlp">“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.</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>—</td> + <td class="tdr"> </td> + </tr> + <tr> + <td class="tdlp">Barye’s Admirer.—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 “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.</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’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 “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<span class='pagenum'><a name="Page_2" id="Page_2">[Pg 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’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 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.</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’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.</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’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 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="“The Sure Revolving Test of Time--Past and Present”" /> +</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 “flats.” 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 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.</p> + +<p><i>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.</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 “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?</p> + +<p>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, <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 “housekeeping” suites, <i>i. e.</i>, having kitchens +and dining-rooms; partly “hotel” suites, <i>i. e.</i>, having neither +kitchens nor dining-rooms, the occupants preferring to use the public +café and dining-rooms; and partly “semi-housekeeping” 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 +“housekeeping” 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 +“housekeeping” suites, having precisely the same number and size +of rooms as we find in our independent house or “tower” and compare +costs.</p> + +<p>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.</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’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 4]</a></span> +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.</p> + +<p>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.</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 “</td> + </tr> + <tr> + <td class="tdl">Music-room</td> + <td class="tdl">154 “</td> + </tr> + <tr> + <td class="tdl">Chamber No. 1</td> + <td class="tdl">384 “</td> + </tr> + <tr> + <td class="tdl">Chamber No. 2</td> + <td class="tdl">528 “</td> + </tr> + <tr> + <td class="tdl">Chamber No. 3</td> + <td class="tdl">170 “</td> + </tr> + <tr> + <td class="tdl">Chamber No. 4</td> + <td class="tdl">252 “</td> + </tr> + <tr> + <td class="tdl">Chamber No. 5</td> + <td class="tdl">162 “</td> + </tr> + <tr> + <td class="tdl">Chamber No. 6</td> + <td class="tdl">286 “</td> + </tr> + <tr> + <td class="tdl">Chamber No. 7</td> + <td class="tdl">242 “</td> + </tr> + <tr> + <td class="tdl">Chamber No. 8</td> + <td class="tdl">315 “</td> + </tr> + <tr> + <td class="tdl">2 Bath-rooms</td> + <td class="tdl">144 “</td> + </tr> + <tr> + <td class="tdl">Trunk-room</td> + <td class="tdl">136 “</td> + </tr> + <tr> + <td class="tdl">Dining-room</td> + <td class="tdl">408 “</td> + </tr> + <tr> + <td class="tdl">Kitchen</td> + <td class="tdl">384 “</td> + </tr> + <tr> + <td class="tdl">China-closet</td> + <td class="tdl">136 “</td> + </tr> + <tr> + <td class="tdl">Other closets</td> + <td class="tdl">410 “</td> + </tr> +</table> + +<p>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>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 “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.</p> + +<p>The same amount of available space, <i>i. e.</i>, 4,859 square feet in our +“flat” 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’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.</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 +“flat,” against $40,000 for the “tower,” 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 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.</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 “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 <i>but a +little more than a quarter of that of the “tower!”</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 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.</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 “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<span class='pagenum'><a name="Page_5" id="Page_5">[Pg 5]</a></span> +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.</p> + +<p>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.”</p> + +<p>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.”</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 “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.”</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 “tower” +system.</p> + +<p>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.</p> + +<p>The annual running expenses are also greatly in favor of the +“flat” system when the advantages of coöperation 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>attachés</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>attachés</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>café</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, +coöperation, 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 “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.”</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 “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.</p> + +<p>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.</p> + +<p>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.</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 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’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 & Co., Architects, +then addressed the meeting as follows:—</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 “The property of...,” and “Not to be copied, or +used, without the consent of the author, <i>under penalty of the law</i>.” +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 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.</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’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.</p> + +<p>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.</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—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:</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’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.</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,—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<span class='pagenum'><a name="Page_7" id="Page_7">[Pg 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,—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.</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’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.</p> + +<p>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.</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,—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.</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 archæologists, +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’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.</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’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.</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 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—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’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’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.</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—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.</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. 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.</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’ 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.</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 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.</p> + +<hr style='width: 45%;' /> + +<p><span class="smcap">To Protect Plate-glass in Building.</span>—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.’”—<i>Chicago Journal.</i></p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_9" id="Page_9">[Pg 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 “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.</p> + +<p>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.</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 “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.</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 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 <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 10]</a></span> +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.</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 laminæ 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—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.—T. M. R.</p></div> +</div> + + +<hr style='width: 45%;' /> + +<p><span class="smcap">Warfare on Oak Trees.</span>—“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.”—<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 “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.</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’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.</p> + +<p>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 <i>Salon</i>, 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 <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 11]</a></span> +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 +<i>seems</i> to belong the “Ape riding a Gnu,” 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 “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.</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’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’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.</p> + +<p>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.</p> + +<p>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 <i>Salon</i> 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 “<i>Souvenirs sur Th. Rousseau</i>,” 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.</p> + +<p>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<span class='pagenum'><a name="Page_12" id="Page_12">[Pg 12]</a></span> +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 <i>Salon</i> 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.</p> + +<p>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.</p> + +<p>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.</p> + +<p>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.</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">“THE LION AND THE SERPENT.” 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 & 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.—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.—ENTRANCE FRONT. +THE LATE MR. GEORGE DEVEY, ARCHITECT.</p> + +<p class="center">[Issued only with the International Edition.]</p> + + +<p class="padtop">A GENTLEMAN’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’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.</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’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’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.</p> + + +<p class="padtop">HOUSE OF MRS. CHARLES BLAKE, BEACON ST., BOSTON, MASS. +MESSRS. STURGIS & 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 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’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"> </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"> </td> + </tr> + <tr> + <td class="tdl">Aisles interior</td> + <td class="tdr"> </td> + <td class="tdr">16</td> + <td class="tdr">40</td> + <td class="tdr"> </td> + </tr> + <tr> + <td class="tdl">Chapel and Chapter</td> + <td class="tdr">52</td> + <td class="tdr">26</td> + <td class="tdr"> </td> + <td class="tdr"> </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—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’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.</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—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.</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—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?</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 14]</a></span> +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.”<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’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 “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.</p> + +<p>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.</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’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:</p> + +<div class="poem"> +<div class="stanza"> +<span class="i0">“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">“When the rock was hid by the surge’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’d the Abbot of Aberbrothwick.”</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, +“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.”<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 & 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’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 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’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>:—</p> + +<p><i>Dear Sirs,</i>—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.”</p> + +<p>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.</p> + +<p>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.</p> + +<p>“Anglo-American” is right in saying that my short paper in +<i>Harper’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’s Weekly</i> did not +know his Baltimore to the same degree. But he is himself in error +when he speaks of the “<i>Life and Works of Antoine Louis Barye</i>,” +written by me and published by the Barye Monument Association as +a catalogue. The catalogue is quite another thing from the <i>édition +deluxe</i>, which is the only edition of the “<i>Life</i>.”</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>:—</p> + +<p><i>Dear Sirs,</i>—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.”</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>—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.</p> + +<hr style='width: 45%;' /> + +<p><span class="smcap">The Dangers of Electricity.</span>—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 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.—<i>Engineering.</i></p> + +<hr style='width: 45%;' /> + +<p><span class="smcap">The Monolithic Church of St. Emilion.</span>—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.—<i>J. H. Parker.</i></p> + +<hr style='width: 45%;' /> + +<p><span class="smcap">Another Tall Chimney.</span>—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.—<i>Exchange.</i></p> + +<hr style='width: 45%;' /> + +<p><span class="smcap">Site of a Locrian Town.</span>—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.—<i>New York Times.</i></p> + +<hr style='width: 45%;' /> + +<p><span class="smcap">The Watkin Tower.</span>—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.—<i>Boston Post.</i></p> + +<hr style='width: 45%;' /> + +<p><span class="smcap">Persian Court Art.</span>—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 Phœnician.—<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’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.</p> + +<hr style='width: 45%;' /> + + +<p class="center"><span class="smcap">S. J. Parkhill & 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>—Concontractors amended to Contractors—"Estimates. Builders’ +and Sub-Contractors’, 161"<br /> + +<a href="#Page_iv">Page iv</a>—Judæan amended to Judean—"Judean Tombs, 117"<br /> + +<a href="#Page_v">Page v</a>—Scandinavan amended to Scandinavian—"Scandinavian Art, 37, 53, +63"<br /> + +<a href="#Page_v">Page v</a>—Maxmilian amended to Maximilian—"Tomb. [of] Maximilian at +Innsbruck, 61"<br /> + +<a href="#Page_vii">Page vii</a>—place name and page reference transposal reversed—"Strozzi +Palace, Florence, 70"<br /> + +<a href="#Page_viii">Page viii</a>—Ruitz amended to Rintz—"Berlin, Ger. ... House on the +Yorkstrasse. Herr Rintz, ..."<br /> + +<a href="#Page_viii">Page viii</a>—Willisch amended to Wellisch—"Buda-Pesth, Austria. House of +Herr Hatner. Alfred Willisch, ..."<br /> + +<a href="#Page_viii">Page viii</a>—Felixtowe amended to Felixstowe—"Felixstowe, Eng. The +Gables." etc.<br /> + +<a href="#Page_viii">Page viii</a>—repeated 'the' deleted—"Painting by Puvis de Chavannes in +the Grand Hall ..."<br /> + +<a href="#Page_5">Page 5</a>—succedded amended to succeeded—"... far from honourable, have +succeeded in getting control ..."<br /> + +<a href="#Page_7">Page 7</a>—scholorship amended to scholarship—"... to whom scholarship is +dear ..."<br /> + +<a href="#Page_9">Page 9</a>—argillacious amended to argillaceous—"... of a loose +argillaceous irony matter ..."<br /> + +<a href="#Page_9">Page 9</a>—repeated 'is' deleted—"... showing that it is not its +geological position ..."<br /> + +<a href="#Page_11">Page 11</a>—gripe amended to grip—"... 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 *** + +***** This file should be named 21596-h.htm or 21596-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/1/5/9/21596/ + +Produced by Juliet Sutherland, Sam W. and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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