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+The Project Gutenberg EBook of The American Architect and Building News,
+Vol. 27, Jan-Mar, 1890, by Various
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever. You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: The American Architect and Building News, Vol. 27, Jan-Mar, 1890
+
+Author: Various
+
+Release Date: May 24, 2007 [EBook #21596]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK AMERICAN ARCHITECT ***
+
+
+
+
+Produced by Juliet Sutherland, Sam W. and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+
+
+
+ THE
+ AMERICAN ARCHITECT
+ AND
+ BUILDING NEWS
+
+ VOL XXVII
+
+ JANUARY-MARCH
+ 1890
+
+TICKNOR & CO. PUBLISHERS.
+ 211 TREMONT ST. BOSTON.
+
+
+S. J. PARKHILL & CO. Printers
+Boston Mass.
+
+
+
+
+[Illustration: The AMERICAN ARCHITECT AND BUILDING NEWS]
+
+INDEX TO VOLUME XXVII.
+
+JANUARY-MARCH, 1890.
+
+
+Abattoirs, 128
+
+Aberbrothwick. The Abbey of, 13
+
+Aboriginal Races of America. The, 151
+
+ACCIDENTS:--
+ Fall of a Hotel in Sydney, N.S.W., 184
+ " " " Scaffold, 104
+ " " St. Louis Academy of Music, 66
+ " " the Roof of the Flora Hall, Hamburg, 196
+
+Agreement between Architect and Client, 30
+
+Albany Capitol. Defective Gutters on the, 97
+
+Aluminium from Bauxite, 194
+
+Alva. Statue of the Duke of, 74
+
+America. The Aboriginal Races of, 151
+
+_American Architect_ Travelling-Scholarship Design for a New White
+ House. The, 158
+
+American Bricks, 77
+
+A.I.A. Convention. The, 79
+ " Illinois Chapter of, 182
+ " Philadelphia Chapter, 46
+ " St. Louis Chapter, 206
+ " Washington Chapter, 43
+
+Amsterdam. High-level Bridge for, 47
+
+Ancient Architecture, 19, 35, 51
+
+Andre, Architect. Death of Jules, 145 " The Career of M. Jules, 162
+
+"Angelus." Millet's, 12
+
+Apartment-house. The, 3
+
+ARCHAEOLOGICAL:--
+ Burial Mounds, 99, 151
+ Cleopatra's Tomb, 141
+ Delphi. The Proposed Excavations at, 65
+ Dighton Rock. The, 93
+ Hissarlik Controversy. The, 144
+ History of Habitation. The, 149, 168
+ Locrian Town. The Site of a, 16
+ Maya. Temples of Ancient, 204
+ Mesopotamia. Explorations in, 160
+ Obelisk. Protecting the New York, 178, 207
+ Persian Court Art, 16
+ Rome. Discovery of an Ancient Viaduct in, 80
+ St. Emilion. The Monolithic Church of, 16
+ Scandinavia. Discoveries in, 63
+ Uxmal, 204
+ Vikings. The Art of the, 37, 53
+ Yucatan. Ancient Temples in, 204
+ " Exploring Expedition. A New, 112
+ " Ruins and Works of Art in, 58
+
+Arches. Concrete, 1
+
+ARCHITECT:--
+ New York State. The, 206
+
+ARCHITECTS:--
+ Annoyances of. The, 194
+ Chimney-flues and, 146
+ Dismissal of. The Right of, 158
+ Examinations and Diplomas, 162
+ in Canada. The Registration of, 183
+ " Spanish America, 18
+ Incomes of. The, 1, 47, 127
+ Libel-suit Between. A, 206
+ New South Wales Institute of. Quarrel in the, 183
+ of Mons Cathedral. The, 114
+ Office. A Chicago, 50
+ Ontario Association of, 41
+ Philadelphia Master-Builders and the, 161
+ Reputation of. The Influence of Architectural Journals on the, 17
+ Responsibility of. The, 2, 130
+ Stray Thoughts for Young, 90
+ Suit against a Railroad. An, 194
+
+ARCHITECTURAL:--
+ Club. Boston, 95
+ Drawings at the League Exhibition, 40, 57, 143
+ " Philadelphia Exhibitions of, 107, 146
+ Education at Munich, 181
+ " in France, 162
+ Exhibition at the Pennsylvania Academy, 107
+ Journals on the Reputation of Architects. The Influence of, 17
+ League Exhibition. The, 40, 57, 143
+ Prints. Arranging, 207
+ Shades and Shadows, 56
+ Styles. Changes of, 108
+ Water-color Drawings, 107
+
+ARCHITECTURE:--
+ Ancient, 19, 35, 51
+ at Evanston, Ill., 118
+ Civil and Domestic, 19, 35, 51, 67, 83
+ Decoration and, 6
+ Funerary, 99, 115, 131, 147, 163
+ History of. The, 150
+ in Baltimore, 187
+ " Brooklyn, 5
+ of the Brooklyn Institute. Department of, 206
+ Military, 179, 195
+ Sculpture and, 7
+ Spanish. Sir Frederick Leighton on a Device of, 146
+ Study of. The, 6
+
+Army Engineer and our Public Buildings. The, 143
+
+Arranging Architectural Prints, 207
+
+Art Museum. The Cost of a Small, 23
+ " of the Vikings. The, 37, 53
+ " The Tariff on Works of, 18
+
+Artificial-ice Skating-rink. An, 145
+
+Artists. Quarrel among French, 80
+
+Asphalt Paving, 82
+
+Assyrian Architecture, 20
+ " Fortifications, 179
+ " Tombs, 116, 144
+
+Australia. Engineering Triumphs in, 106
+ " Letters from, 106, 183
+ " Roman Catholic Buildings in, 107
+
+Automatic Sprinklers in Mills, 177
+
+
+BALTIMORE:--
+ Architecture in, 187
+ Building-permits in, 97
+ Letters from, 187
+ Pennsylvania Steel Company's Works near. The, 188
+ Railway. The proposed "Belt Line," 188
+
+Balveny Castle, Scotland, 61
+
+Barye Exhibition. The, 10
+
+Barye's English Admirer, 15
+
+Bauxite. Aluminium from, 194
+
+Belgian Prizes and Honors, 34
+
+Belle Isle Dam. The Straits of, 48
+
+Belt Line Railway for Baltimore. A, 188
+
+Berlin Industrial Museum Exhibition, 174
+ " Technical College. The, 140
+
+Beryt or Fluid Marble, 160
+
+Bids. The Right of Revising, 194
+
+"Black-lining"? What is, 65
+
+Books on School-houses, 207
+
+Borrowing Suburban Fire-Engines, 18, 146
+
+BOSTON:--
+ Architectural Club, 95
+ Building Laws. The, 109
+ Fires. Water Used in, 79
+ Letter from, 190
+ Lock-out in the Freestone-Cutting Trade, 161, 177
+ Manufacturers Mutual Fire Insurance Company. Annual Report of, 177
+ Museum of Fine Arts. The, 175, 190
+ Society of Architects, 14
+ Walking-delegate's Power. A, 193
+
+Botticher _vs._ Dr. Schliemann. Dr., 144
+
+Bourse du Commerce, Paris. The New, 185
+
+Brentano, Architect. Death of Signor, 130
+
+Brick. Cheap Unbaked Colored, 176
+
+Bricks. American, 77
+
+Bridge at London. The Tower, 192
+ " for Amsterdam. High-level, 47
+ " Testing the Forth, 160
+ " The Hawkesbury Railway, 106
+
+Bridges in China. Ancient, 96
+
+British Museum. Electric-Light at the, 104
+
+Brooklyn. Architecture in, 5
+ " Institute. Department of Architecture of the, 206
+
+Bronze Gates for Cologne Cathedral, 135
+
+Brunswick Monument at Geneva. The, 18
+
+Buenos Ayres, 18
+
+Builders. Convention of National Association of Master, 34, 81
+
+BUILDING:--
+ Committee. A Competitor's Suit against a, 104
+ Contracts. German, 82
+ Laws. The Boston, 109
+ Permits in Baltimore, 97
+ Safe, 121, 135, 197
+ Stones. Decay of, 98
+ Swedish Penalties for Bad, 72
+ Syndicate. Proposed, 81
+ Trades. Troubles in the, 193
+
+Bull-fights in Paris, 130
+
+Bull-ring for Paris. Proposed, 50
+
+Bureau of Ethnology's Fifth Annual Report. The, 151
+
+Burial-mounds, 99, 151
+
+Building and the Underwriters. Safe, 49, 97
+
+Burmese Temples. Jewels in, 58
+
+Burnham & Root's Office, 50
+
+Byzantine Architecture, 52
+
+
+Canada. Letters from, 41, 104, 182
+ " Proposed Public Buildings in, 104
+ " The History of Education in, 183
+ " The Registration of Architects in, 183
+
+Cast-iron and its Treatment for Artistic Purposes, 201
+ " Pavements, 192
+
+Castle Campbell, Scotland, 127
+ " of St. Angelo, Rome. The, 208
+ " " Vincigliata, Italy. The, 62
+
+Casts at the Boston Art Museum, 190
+
+Catacombs, 147
+
+Cathedral. Bronze Gates for Cologne, 135
+ " Drawings at the League Exhibition, 30, 62
+ " of Mons. The, 114
+ " " St. Machar. The, 27
+ " Strasbourg, 153
+ " The Completion of Milan, 130
+ " Towers, 92, 102
+
+Cathedrals. Clearing away Buildings around, 162
+
+Cats. Egyptian Mummy, 208
+
+Cawdor Castle, Scotland, 110
+
+Celtic Tumuli, 99
+
+Cement. Palming off Poor, 113
+
+Cemented Surfaces. Painting on, 146
+
+Cemeteries. Mediaeval, 164
+
+Cemetery Vaults, 47
+
+Centennial Hall, Sydney, N.S.W., 184
+
+Charges. A Question of, 207
+
+CHICAGO:--
+ Letters from, 118, 182
+ Suburban Building in. Rapid Transit and, 182
+ World's Fair. The, 177, 182
+
+Chimney. A Tall, 16
+ " flues. Architects and, 146
+
+China. Ancient Bridges in, 96
+
+Chinese Architecture, 19
+
+Christians. The Primitive, 147
+
+Church-restoring by Lottery, 128
+ " Towers, 91, 92, 102
+
+Churches. The Picturesque Lighting of, 146
+
+Cippi, 134
+
+Circular Annoyance. The, 194
+
+"City of the Gods," Mexico. The, 172
+
+Civil and Domestic Architecture, 19, 35, 51, 67, 83
+
+Clark, Architect. Death of George, 63
+
+Cleopatra's Tomb, 141
+
+Clerk-of-works Question. The, 79, 111, 159
+
+Cohesive Construction, 123
+
+Cologne Cathedral. Bronze Gates for, 135
+ " " Clearing away Buildings around, 162
+
+Color Changes in New York Buildings, 108
+
+Colored Brick. Cheap unbaked, 176
+
+Columbaria, 134
+
+Columns. Ventilating Wooden, 31
+
+Commission on a Standing Party-wall, 142
+
+Commissioner of the Albany Capital The, 206
+
+Commissions. The Question of, 31, 159
+
+Compensation. A Question of, 207
+
+COMPETITIONS:--
+ Drawings, 40, 62, 65
+ Grant Monument. The, 145
+ Hartford Railroad Station. The, 194
+ Montreal Insane Asylum, 104
+ New York Episcopal Cathedral, 40, 62
+ Quebec City-hall. The, 63
+ Sheffield Municipal Buildings. The, 33
+
+Competitor's Suit against a Building-committee. A, 104
+
+Composite Metal. A New, 93
+
+Concentrated Residence in various Countries, 88, 119
+
+Concrete Arches, 1
+
+"Concrete." Laying a Foundation of Dry, 113
+
+Concrete. Wrong Methods of Mixing, 114
+
+Conde. Fremiet's Figure of, 76
+
+Congressional Palace. The Mexican, 96
+
+Construction. Cohesive, 123
+ " German, 155
+ " Improvements in Mill, 177
+ " Slow-burning, 29, 97
+
+Contract. The Lowell City-hall, 194
+ " " "Standard Form" of, 81
+ " taking Labor Syndicates, 194
+
+Contracting Syndicate. Proposed, 81
+
+Contractors. Great, 95
+
+Contractor's Profit-sharing. A, 2, 43
+
+Contracts. German Building, 82
+ " Importance of Written, 65
+
+Convention of National Association of Master-Builders, 34, 81
+
+Copan in Yucatan. The Ruins of, 59
+
+Copper-rolling. Remarkable, 80
+
+Corrections, 79
+
+Cotman. John Sell, 174
+
+Count and his Machine. A Mysterious, 112
+
+County Council. The London, 104
+
+Coverings for Steam-pipes, 22, 157
+
+Craigievar Castle, Scotland, 189
+
+
+Dalmeny Church, Scotland, 189
+
+Dam. The Straits of Belle Isle, 48
+
+Dangers of Electricity. The, 15, 27
+
+Dead. The Disposition of the, 24
+
+Deaths from Electricity, 15, 27
+
+Decay of Building Stones. The, 98
+
+Decoration and Architecture, 6
+
+Decorative Paintings in the new Bourse du Commerce, Paris. The, 185
+
+Delphi. The Proposed Excavations at, 65
+
+Dessication of the Dead, 25
+
+Dighton Rock. The, 93
+
+Directory. A Lamp-post, 98
+
+Dismissal of an Architect. The Right of, 158
+
+Divining-rod. The, 15
+
+Domes. Spires, Towers and, 91, 101
+
+Domestic Architecture. Civil and, 19, 35, 51, 67, 83
+
+Doors. Fire, 156
+
+Drawing Instruments. A Yale Professor's Trouble through Prescribing,
+ 66
+
+Drawings at Architectural League Exhibition, 40, 57, 143
+ " " Philadelphia. Exhibition of Architectural, 107, 146
+ " "Black-lining" Competition, 65
+
+Durand, Architect. Death of George F., 1
+
+Duty on Window-glass. The, 31
+
+
+Earnings of Architects. The, 1
+
+East River Tunnel. The Proposed, 178
+
+Education in Canada. The History of, 183
+
+Effigies. Funeral, 164
+
+Egyptian Architecture, 20
+ " Fortifications. Ancient, 179
+ " Tombs, 99, 115
+
+Eight-hour Movement. The, 1, 93, 194
+
+ELECTRIC:--
+ Light at the British Museum, 104
+ Lights and Motors, 79
+ Railways, 64, 111, 128
+ Reading light for Railways, 50
+ Welding, 176
+ Wire. The Queen of Greece and an, 128
+
+Electrical Terms, 44
+
+Electricity and Insurance, 79
+ " The Dangers of, 15, 27
+
+Elevator in Stockholm. An American, 111
+
+Emperor Frederick. A Statue of the, 208
+
+Engine. A new Style of Railway, 82
+
+Engineer and our Public Buildings. The Army, 143
+
+ENGINEERING:--
+ Bridge. A complete Account of the Forth, 177
+ " for Amsterdam. High-level, 47
+ " London's Tower, 192
+ " Testing the Forth, 160
+ " The Hawkesbury Railway, 106
+ " in China. Ancient, 96
+ Dam. The Straits of Belle Isle, 48
+ Docks at Vizagapatam. Mud, 63
+ Electric Railways, 64, 111
+ Elevator in Stockholm. American, 111
+ Railroad. A Pneumatic Street, 95
+ " for Baltimore. A Proposed Belt-line, 188
+ Tower for the Exhibition of 1892. High, 177
+ " The Watkin, 16, 105
+ Tunnel. The East River, 178
+ " " St. Clair River, 128
+ " " Washington Aqueduct, 103
+ Water-power. A Remarkable, 47
+
+"Entombment" in Mexico. A Titian, 60
+
+Entombment. Sanitary, 24
+
+Episcopal Cathedral, New York, Competition, 40, 62
+
+Equestrian Monuments, 72, 170
+
+Estimates. Builders' and Sub-Contractors', 161
+
+Ethnology's Fifth Annual Report. The Bureau of, 151
+
+Etruscan Architecture, 36
+ " Tombs, 131
+
+Evanston, Ill. Architecture at, 118
+
+Evaporation of Water in Traps, 15
+
+Examinations and Diplomas. Architects', 162
+
+EXHIBITION:--
+ Architectural League. The, 40, 57, 143
+ Boston Architectural Club, 95
+ of 1892. The Chicago, 177
+
+EXHIBITIONS:--
+ of Architectural Drawings at Philadelphia, 107, 146
+
+EXPOSITION OF 1889:--
+ Algerian Pavilion at the, 105
+ Buildings of the, 21, 105
+ Cairo Street at the, 105
+ Cochin-Chinese Pavilion at the, 106
+ Colonial Sections at the, 105
+ Double Statue at the, 32
+ Forestry Pavilion at the, 105
+ History of Habitation at the, 149, 168
+ Indian Pavilion at the, 105
+ Palaces of Liberal and Fine Arts, 21
+ Pavilions at the. The City of Paris, 21
+ Portuguese Pavilion at the, 105
+ Sanitary Exhibits at the, 21
+ Spanish Pavilion at the, 105
+ Tunisian Pavilion at the, 106
+ Views of Old Paris at the, 21
+
+
+Fall of a Hotel in Sydney, N.S.W., 184
+ " " St. Louis Academy of Music, 66
+ " " the Roof of the Flora Hall, Hamburg, 196
+
+Ferstel. Baron, 66
+
+Feudal Military Architecture, 195
+
+Fifteenth Century "Working-day." A, 155
+
+FIRE:--
+ Apparatus, 29
+ Backs, 201, 203
+ Destruction of Toronto University by, 182
+ Doors, 156
+ Engines. Borrowing Suburban, 18, 146
+ in Secretary Tracy's House. The, 186
+ Loss. Reducing the, 28
+
+Fireplace Throat. The Open, 159
+
+Fireproof Floor. The Schneider, 158
+ " Whitewash, 208
+
+FIRES:--
+ in American Cities, 97
+ " Mills. Extinguishing, 177
+ Water Used in Boston, 79
+
+"Flats," 3
+
+Flues. Floor-beams and, 146
+
+Floor. Beams and Flues, 146
+ " The Schneider Fireproof, 158
+
+Font in St. Peter Mancroft, 62
+
+Forth Bridge Issue of "_Engineering_," 177
+ " " Testing the, 160
+
+Fortifications. Ancient Egyptian, 179
+ " Assyrian, 179
+ " Greek, 179
+ " Modern, 195
+ " Roman, 180
+
+Foundation of Dry "Concrete." A, 113
+
+Foundations. A New Process of Preparing, 160
+
+France. Architectural Education in, 162
+
+Frederick the Great's Tomb, 144
+
+Freestone-Cutters. Lock-out among Boston, 161, 177
+
+Fremiet's Figure of Conde, 76
+
+French Architects. Proposed Licensing of, 162
+ " " The Responsibility of, 2
+
+Frost on Stone. The Action of, 98
+
+Funerary Architecture, 99, 115, 131, 147, 163
+
+
+Gallic Architecture, 52
+
+Garnier's History of Habitation, 149, 168
+
+Gates for Cologne Cathedral. Bronze, 135
+
+Geneva. The Brunswick Monument at, 16
+
+German Building Contracts, 82
+ " Construction, 155
+
+Glass. The Duty on Window, 31
+ " The Salviati Murano, 207
+ " Lined Tubes for Underground Wires, 160
+
+Grant Monument Competition. The, 145
+
+Gravity Transit, 178
+
+Great Wall of China. The, 19
+
+Greek Architecture, 35
+ " Fortifications, 179
+ " Mouldings, 139
+ " Tombs, 131
+
+"Gods," Mexico. "The City of the," 172
+
+Gustavus Adolphus. Statue of, 74
+
+Gutters on the Albany Capitol. Defective, 97
+
+
+Habitation. History of, 149, 168
+
+Halls. The Sizes of Some Large, 184
+
+Hand _vs._ Machine Work, 108
+
+Hawkesbury Railway Bridge. The, 106
+
+Hawthorn Tree of Cawdor. The, 110
+
+Hay Fuel, 159
+
+Heat. Loss of Power by Radiation of, 22, 157
+
+Heating by Hot-water, 33
+
+Hindoo Architecture, 19
+ " Tombs, 148
+
+History of Habitation, 149, 168
+
+Horse in Sculpture. The, 72, 170
+
+Hot-water Heating, 33
+
+Hotel. A Paper, 160
+ " at the Pyramids. A, 160
+
+House of St. Simon, Angouleme, 61
+
+Houses for Workingmen, 105
+
+Hungary. Railway Zones in, 178
+
+Hydraulic Power in London, 155
+ " Pressure. Rocks Upheaved by, 26
+
+Hypogea, 115
+
+
+Ice for Domestic Use, 34
+ " Skating-rink. An Artificial, 145
+ " The Power of, 118
+
+Illinois Chapter A.I.A. The, 182
+
+Incomes of Architects. The, 1, 47, 127
+
+India-rubber Paving, 192
+
+Industrial Museum. The Berlin, 174
+
+Inspection of Buildings in New York, 31
+ " " School-houses. State, 129
+
+Insurance. A Question of, 18, 146
+ " and Electricity, 79
+ " and Safe Building, 49, 97
+ " Company. Annual Report of Boston Manufacturers Mutual Fire, 177
+ " Companies and Building Construction. The, 49, 97
+
+Interiors. Photographing, 96
+
+International Edition. Our, 17, 18, 65
+
+Iron and its Treatment for Artistic Purposes. Cast, 201
+
+
+Japanese Collections at the Boston Art Museum. The, 192
+
+Jewels in Burmese Temples, 58
+
+Jewish Architecture, 20
+
+Judean Tombs, 117
+
+
+Keely, Architect. Death of Charles, 18
+
+Kirby's Drawings. Mr. H. P., 107
+
+
+Labor Syndicates. Contract-taking, 194
+ " Troubles, 130, 161, 177, 193
+
+Lamp-post Directory. A, 98
+
+Land Values in Milwaukee, 160
+
+"Lantern of the Dead." The, 164
+
+Laths. A Corner in, 192
+
+Lead-pencils, 178
+
+League Exhibition. The Architectural, 40, 57, 143
+
+Leclere Prize. The Achille, 50
+
+LEGAL:--
+ Alterations and Old Material, 109
+ Boston Building Laws. The, 109
+ Commission on a Standing Party-wall, 142
+ Compensation for Designs, 31
+ Competitor's Suit against a Building-committee. A, 104
+ Contracts. Importance of Written, 65
+ Dismissal. Right of, 158
+ Libel Suit between Architects. A, 206
+ Lien Law. The New Rhode Island, 113
+ Owner's Right to Build. An, 97
+ Responsibility of Architects. The, 2, 130
+ Suit against a Railroad. An Architect's, 194
+ "Trolley" System. Decision against the, 128
+ Understanding between Architect and Client, 159
+ Van Beers Suits. The, 80
+
+Leighton on a Device of Spanish Architecture. Sir Frederick, 146
+
+LETTERS FROM:--
+ Australia, 106, 183
+ Boston, 190
+ Canada, 41, 104, 182
+ Chicago, 118, 182
+ London, 42, 104
+ New York, 108
+ Paris, 21, 105, 185
+ Philadelphia, 197
+ Washington, 43, 186
+
+Libel-suit between Architects. A, 206
+
+Licensing of Architects. The, 162
+
+Lien Law. The New Rhode Island, 113
+
+Light-house at Houstholm. The, 88
+
+Lighting Effects. Picturesque Interior, 146
+
+Lime in Architect's Specifications, 161
+
+Lock-out among Boston Freestone-Cutters, 161, 177
+
+Locomotive. A New Style of, 82
+
+Locrian Town. The Site of a, 16
+
+LONDON:--
+ British Museum. Electric-light at the, 104
+ County Council. The, 104
+ Houses for Workingmen, 105
+ Hydraulic Power. The Distribution of, 155
+ Letters from, 42, 104
+ National Portrait Gallery. The New, 208
+ Prize-men of the R.I.B.A., 104
+ St. Saviour's, Southwark, 43
+ Subways for. Proposed, 43
+ Tower Bridge. The, 192
+ Waterhouse's Annual Address before the R.I.B.A. Mr., 42
+ Watkin Tower. The, 16, 105
+
+Lottery. Church Restoring by, 128
+
+Louis XIV. Equestrian Statues of, 170
+
+Lowell City-hall Contracts. The, 194
+
+
+Machine-work. Hand _vs._, 103
+
+Magnesia Coverings for Steam-pipes, 23, 157
+
+Manual Training-school Pupils, 96
+
+Marble and Freestone Cutters, 161
+ " Beryt or Fluid, 160
+
+Marcus Curtius. Statue of, 172
+
+Massachusetts. State Inspection of School-houses in, 129
+
+Master-builders' Attempt to Discipline Architects. The
+ Philadelphia, 161
+
+Mausoleums, 133
+
+Maximilian at Innsbruck. Tomb of, 61
+
+Maximilian I. Statue of, 76
+
+Maya. Temples of Ancient, 204
+
+McAlpine, Civil Engineer. Death of, W. J., 129
+
+McArthur, Jr., Architect. Death of John, 33
+ " " The Late John, 48
+
+Mediaeval Architecture, 52, 67
+ " Cemeteries, 164
+ " Tombs, 163
+
+Mesopotamia. Explorations in, 160
+
+Metal. A new Composite, 93
+
+Mexican Congressional Palace. The Proposed, 96
+ " Pyramids, 172
+
+Mexico. A Titian "Entombment" in, 60
+ " "The City of the Gods," 172
+
+Milan Cathedral. The Completion of, 130
+
+Military Architecture, 179, 195
+
+Mill-construction. Improvements in, 177
+
+Millet's "Angelus," 12
+
+Milwaukee. Land Values in, 160
+
+Missouri State Association of Architects, 46
+
+Modern Fortifications, 195
+ " Tombs, 166
+
+Monolithic Church of St. Emilion, 16
+
+Mons. The Cathedral of, 114
+
+Monument to the Emperor William. National, 32
+ " " Prison-ship Martyrs, 128
+
+Monuments. Equestrian, 72, 170
+ " Funerary, 99, 115, 131, 147, 163
+ " New York, 151
+
+Mosaic. The Salviati, 208
+
+Mouldings. Greek, 139
+
+Mud-docks at Vizagapatam, 63
+
+Mummy Cats. Egyptian, 208
+
+Munich. The Royal Polytechnicum at, 181
+
+Museum of Fine Arts, Boston. The, 175, 190
+ " The Cost of a small, 23
+
+Mussulman Architecture, 52
+
+
+Naples. Heavy Rains at, 95
+
+National Portrait Gallery, London. The New, 208
+
+Natural-gas Supply. The, 32
+
+Neutral Axis. To Find the, 111
+
+New South Wales Institute of Architects. Quarrel in the, 183
+
+NEW YORK:--
+ Architectural League Exhibition, 40, 57, 143
+ Architecture. Color in, 108
+ Barye Exhibition. The, 10
+ City-hall Park. The, 138
+ East River Tunnel. The, 178
+ Episcopal Cathedral Competition. The, 40, 62
+ Inspection of Buildings in, 31
+ Letters from, 108
+ Monuments, 151
+ Obelisk. The Protection of the, 178, 207
+ Paintings at the Barye Exhibition, 11
+ Tenement-houses, 89, 119
+
+Newark Architectural Sketch-Club, 30
+
+Northwestern University. The Buildings of the, 118
+
+Nun. A Written Contract Necessary even when Dealing with a, 65
+
+
+Oak-trees built into Chimney-walls, 146
+ " Warfare on, 10
+
+Obelisk. Protection of the New York, 198, 207
+
+OBITUARY:--
+ Andre. Jules, Architect, 145
+ Brentano. Signor, Architect, 130
+ Clark. George, Architect, 63
+ Durand. George F., Architect, 1
+ Keely. Charles, Architect, 18
+ McAlpine. W. J., Civil Engineer, 129
+ McArthur, Jr. John, Architect, 33
+ Oudinot. Eugene, Glass-stainer, 81
+ Roberts. E. L., Architect, 177
+ Sidel. Edouard, Architect, 113
+ Wells. Joseph M., Architect, 95
+
+Office. A Chicago Architect's, 50
+
+Ontario Association of Architects, 41
+
+Open-fireplace Throat. The, 159
+
+Oriental Textiles at Berlin, 175
+ " Tombs, 148
+
+Oudinot, Glass-stainer. Death of Eugene, 81
+
+Owner's Right to Build. An, 97
+
+
+Paint for Underground Work. A Cheap, 146
+
+Painting on Cemented Surfaces, 146
+
+Paintings at the Barye Exhibition, 11
+ " " " Boston Art Museum, 191
+
+Palace of San Giorgio, Genoa, 64
+
+Paper Hotel. A, 160
+
+Paraffine Process used on the Egyptian Obelisk. The, 178, 207
+
+PARIS:--
+ Bourse du Commerce. The New, 185
+ Bull-fights in, 130
+ Bull-ring Proposed for. A, 50
+ Halle au Ble. The, 185
+ Lamp-post Directory. A, 98
+ Letters from, 21, 105, 185
+ Model School-house. A, 82
+ Peabody Homes in, 56
+ Plasterers, 94
+ _Salons_. The Proposed two, 80
+ Skating-rink. An Artificial Ice, 145
+
+PARIS EXPOSITION:--
+ Algerian Pavilion at the, 105
+ Buildings of the, 21, 105
+ Cairo Street at the, 105
+ Cochin-Chinese Pavilion at the, 106
+ Colonial Sections at the, 105
+ Double Statue at the, 32
+ Forestry Pavilion at the, 105
+ History of Habitation at the, 149, 168
+ Indian Pavilion at the, 105
+ Palaces of Liberal and Fine Arts, 21
+ Pavilions at the. The City of Paris, 21
+ Portuguese Pavilion at the, 105
+ Sanitary Exhibits at the, 21
+ Spanish Pavilion at the, 105
+ Tunisian Pavilion at the, 106
+ Views of Old Paris at the, 21
+
+Pavement. India-rubber, 192
+
+Pavements. Cast-iron, 192
+
+Paving. Asphalt, 82
+
+Peabody Homes in Paris, 56
+
+Pencils. Lead, 178
+
+Persian Court Art, 16
+ " Tombs, 117
+
+PHILADELPHIA:--
+ Architectural Exhibition at the Art Club, 146
+ " " at the Penn. Academy, 107
+ Chapter, A.I.A., 46
+ Letters from, 107
+ Master-builders' Attempt to Discipline Architects. The, 161
+ T-Square Club, 206
+
+Phoenician Architecture, 20
+ " Tombs, 117
+
+Photographing Interiors, 96
+
+Pirating Sculpture, 160
+
+Planning of School-buildings. The, 81
+
+Plaster-of-Paris and Marshmallow, 48
+
+Plasterers. Paris, 94
+
+Plate-glass. Protecting, 8
+ " Works Convention. The, 176
+
+Pneumatic Street Railroad. A, 95
+
+Polytechnicum at Munich. The Royal, 181
+
+Polytechnique. The Zurich, 154
+
+Power in London. Hydraulic, 155
+ " Lost by Radiation of Heat, 22, 156
+
+Prehistoric Ruins of Yucatan. The, 58
+
+Prints. Arranging Architectural, 207
+
+Prison-ship Martyrs' Monument. The, 128
+
+Prize-winners. The R.I.B.A., 104
+
+Profit-sharing. A Contractor's, 2, 43
+
+Protecting Building Stone, 98
+
+Public Buildings in Canada. Proposed, 104
+
+Pueblo Indians and the Works of the Rio Grande Irrigation Co. The, 63
+
+Pyramids, 100
+ " A Hotel at the, 160
+ " Mexican, 172
+
+
+Quebec City-hall Competition. The, 63
+
+Queen of Greece and an Electric-wire. The, 128
+
+
+Radiation of Heat. Loss of Power by, 22, 156
+
+Railroad. A Pneumatic Street, 95
+ " An Architect's Suit against a, 194
+
+Railway Bridge. The Hawkesbury, 106
+ " Zones in Hungary, 178
+
+Railways. Electric, 64, 111, 128
+
+Rains at Naples. Heavy, 95
+
+Rantzau. Statuette of Marshal, 76
+
+Rapid Transit for Chicago, 182
+
+Ravenna. The Early Christian Tombs at, 147
+
+Reading-light for Railways. Electric, 50
+
+Registration of Architects in Canada. The, 183
+
+Renaissance Architecture, 69
+ " Tombs, 165
+
+Report of Boston Manufacturers Mutual Fire Insurance Company. Annual, 177
+ " The Bureau of Ethnology's Fifth Annual, 151
+
+Reputation of Architects. The Influence of Architectural Journals on
+ the, 17
+
+Residence in Various Countries. Concentrated, 88, 119
+
+Responsibility of Architects. The, 2, 130
+
+Revising Bids. The Right of, 194
+
+Rhode Island Lien Law. The New, 113
+
+Richardson, H. H., 145
+
+Rio Janeiro. The Sewage of, 156
+
+Roberts, Architect. Death of E. L., 177
+
+Rock. The Dighton, 93
+
+Rocks Upheaved by Hydraulic Pressure, 26
+
+Roman Architecture, 36, 51
+ " Catholic Buildings in Australia, 107
+ " Fortifications, 180
+ " Tombs, 133
+
+Romanesque Tombs, 163
+
+ROME:--
+ Castle of St. Angelo. The, 208
+ Vandalism in, 79
+ Vatican Museum. The, 208
+ Viaduct in. Discovery of an Ancient, 80
+
+Rotting. To Prevent Wood from, 146
+
+Royal Institute of British Architects. Prize-winners, 104
+
+Ruskin and His Work. John, 49
+
+
+Safe Building, 121, 135, 197
+
+St. Alban's Abbey. The Restoration of, 42
+ " Angelo, Rome. The Castle of, 208
+ " Clair River Tunnel. The, 128
+ " Emilion. The Monolithic Church of, 16
+ " Louis Academy of Music. Fall of, 66
+ " " Chapter, A.I.A., 206
+ " Regulus Church. St. Andrews, 45
+ " Salvator's Church, St. Andrews, 46
+ " Saviour's, Southwark. The Restoration of, 43
+ " Sebald. Restoring the Church of, 128
+
+_Salons_. The Proposed Two, 80
+
+Salviati. Death of Dr., 208
+
+Sandstone. The Structure of, 9
+
+Sandy Foundations, 160
+
+SANITARY:--
+ Concentrated Residence in Various Countries, 88, 119
+ Dessication of the Dead, 25
+ Entombment, 24
+ Exhibits at the Paris Exposition, 21
+ Inspection of New York Buildings, 31
+ Sewage of Rio Janeiro. The, 156
+ Tenement-houses, 88, 119
+ Ventilation of School-buildings, 82, 129
+
+Sarcophagi, 163
+
+Scaffold Accidents, 104
+
+Scandinavian Art, 37, 53, 63
+
+Schliemann _vs._ Dr. Botticher. Dr., 144
+
+Schmiedbarenguss, 93
+
+Schneider Fireproof Floor. The, 158
+
+Scholar. Our Travelling. 153, 181
+
+School-buildings. The Planning of, 81
+ " House at Evanston, Ill. A, 118
+ " " The Model, 82
+ " Houses. Books on, 207
+ " " The Ventilation of 82, 129
+
+Sculpture and Architecture, 7
+ " Pirating, 160
+ " The Horse in, 72, 170
+
+Sewage of Rio Janeiro. The, 156
+
+Sgraffito-work, 154
+
+Shades and Shadows. Architectural, 56
+
+Sidel, Architect. Death of Edouard, 113
+
+Skating-rink in Paris. An Artificial-Ice, 145
+
+Slater Memorial Museum. The, 23
+
+Slow-burning Construction, 29, 97
+
+Soldiers' Home at Washington. The, 143
+
+South America. Architects in, 18
+
+Spanish Architecture. A Device of, 146
+
+Specifications Should be _Specific_. Good, 161
+
+"Spectator" on the Underwriters' Interest in Building. The, 49
+
+Spires, Towers and Domes, 91, 101
+
+Sprinklers in Mills. Automatic, 177
+
+Stand-pipes and the Underwriters, 49
+
+State Architect. The New York, 206
+
+Statue Giving a Double Image, 32
+ " of the Emperor Frederick. A, 208
+
+Steam-pipes and Woodwork, 48
+ " Coverings for, 22, 156
+
+Steel Company's Works near Baltimore. The Pennsylvania, 188
+
+Stelae, 99, 115
+
+Stevens, Sculptor. Alfred, 201, 203
+
+Stockholm. An American Elevator in, 111
+
+Stones. The Decay of Building, 98
+
+Straightening Walls, 22
+
+Strasbourg Cathedral, 153
+ " University, 154
+
+Stray Thoughts for Young Architects, 90
+
+Strikes and Lockouts. Threatened, 130
+
+Styles. Changes of Architectural, 108
+
+Subterranean Tombs, 115, 147
+
+Suburban Building in Chicago, 132
+
+Subways in London. Proposed, 43
+
+Suspension-bridges. Chinese, 96
+
+Swedish Penalties for Bad Building, 72
+
+Syndicate. Proposed Contracting, 81
+
+Syndicates. Contract-taking Labor, 191
+
+
+Tapestries at Berlin. Exhibition of Textiles and, 174
+
+Tariff on Works of Art. The, 18
+
+Taxation of Roman Catholic Property in Montreal. The Exemption
+ from, 42
+
+Technical College. The Berlin, 140
+
+Temples of Ancient Maya, 204
+
+Tenement-houses, 88, 119
+
+Teotihuacan, Mexico, 172
+
+Testing the Forth Bridge, 160
+
+Textiles and Tapestries at Berlin. Exhibition of, 174
+
+Thirty Year's War. The, 72
+
+Thoughts for Young Architects. Stray, 90
+
+Titian "Entombment" in Mexico. A, 60
+
+Tobacco in England. The first Use of, 110
+
+Tomb. Cleopatra's, 141
+ " Frederick the Great's, 144
+ " of Cecilia Metella, 134
+ " " Maximilian at Innsbruck, 61
+
+TOMBS:--
+ Assyrian, 116
+ Egyptian, 99, 115
+ Etruscan, 131
+ Greek, 131
+ Hindoo, 148
+ Judean, 117
+ Mediaeval, 163
+ Modern, 166
+ Oriental, 148
+ Persian, 117
+ Phoenician, 117
+ Renaissance, 165
+ Roman, 133
+ Romanesque, 163
+ Subterranean, 115, 147
+
+TORONTO:--
+ Architectural Sketch-Club, 142
+ Burning of the University. The, 182
+ Proposed Improvements in, 42
+
+Tower for the Exhibition of 1892. High, 177
+ " The Watkin, 16, 105
+
+Towers and Domes. Spires, 91, 101
+
+Towns. The Laying-out of, 184
+
+Tracy's House. The Fire in Secretary, 186
+
+Trade Surveys, 16, 32, 48, 64, 80, 96, 112, 128, 144, 160, 176,
+ 192, 208
+
+Trades-unions, 193
+
+Training-school Pupils, 96
+
+Traps. Evaporation of Water in, 15
+
+Travelling-Scholar. Our, 153, 181
+
+"Trolley" System. Decision against the, 128
+
+T-Square Club, Philadelphia. The, 206
+
+Tumuli. Celtic, 99
+
+Tunnel. The East River, 178
+ " " St. Clair River, 128
+ " " Washington Aqueduct, 103
+
+
+Underground Wires. Glass-lined Tubes for, 160
+ " Work. A Cheap Paint for, 146
+
+Understanding between Architect and Client. The, 159
+
+Underwriter's Interest in Building. The _Spectator_ on the, 49
+
+Undermining. Well-sinking by, 98
+
+University. Strasbourg, 154
+
+Uxmal, 204
+
+
+Van Beers. The Artist Jan, 80
+
+Vandalism in Rome, 79
+
+Vane in Burmah. A Jewelled, 58
+
+Vatican. Art at the, 208
+
+Ventilating Wooden Columns, 31
+
+Ventilation of School-buildings, 82, 129
+
+Verplanck Homestead. The, 26
+
+Viaduct in Rome. Discovery of an Ancient, 80
+
+Vikings. The Art of the, 37, 53
+
+
+Walking Delegate. The Power of a, 193
+
+Wall. Collapse of a Retaining, 113
+
+Walls. Straightening, 22
+
+Walnut Logs, 192
+
+Warren's Sketches at the League Exhibition. Mr., 57, 143
+
+WASHINGTON:--
+ Aqueduct Tunnel. The, 103
+ Building in. Recent and Future, 44
+ Chapter, A.I.A., 43
+ Letters from, 43, 186
+ Railroad. A Pneumatic Street, 95
+ Soldiers' Home Building. The, 143
+ Tracy's House. The Fire in Secretary, 186
+
+Water-color Drawings. Architectural, 107
+ " Painting. Books on, 31
+
+Waterhouse's Annual Address before the R.I.B.A. Mr., 42
+
+Water-power. A Remarkable, 47
+ " supply of London. The, 156
+ " used in Boston Fires, 79
+
+Watkin Tower. The, 16, 105
+
+Wattle-tree. The, 10
+
+Welding. Electric, 176
+
+Well-sinking by Undermining, 98
+
+Wells, Architect. Death of Joseph M., 95
+
+White House. The _American Architect_ Travelling-scholarship Design
+ for a new, 158
+
+Whitewash. Fireproof, 208
+
+Will. The Power of the, 112
+
+William of Orange. Statue of, 74
+
+Wood from Rotting. To Prevent, 146
+
+"Working-day." A Fifteenth-century, 155
+
+Working-drawings, 63
+
+World's Fair. The Chicago, 177, 182
+
+
+Yucatan. Ancient Temples of, 204
+ " Exploring Expedition. A New, 112
+ " Ruins and Works of Art in, 58
+
+
+Zones in Hungary. Railway, 178
+
+
+
+
+ILLUSTRATIONS.
+
+[_The figures refer to the number of the journal, and not to the
+page._]
+
+
+DETAILS.
+
+Old Iron and Brasswork at Providence, R.I., 737
+
+Renaissance Doorways, Toulouse, France, 737
+
+
+DWELLINGS.
+
+Balveny Castle, Scotland, 735
+
+Block of Houses for E. K. Greene, Kearney, Neb. Frank, Bailey &
+ Farmer, Architects, 741
+
+Cottage at Tuxedo, N.Y. Renwick, Aspinwall & Russell, Architects, 744
+ " for Dr. T. H. Willard, Jr., Greenville, N.Y. Adolph Haak,
+ Architect, 737
+
+House at Malden, Mass. Chamberlin & Whidden, Architects, 738
+ " " Rochester, N.Y. W. C. Walker, Architect, 736
+
+HOUSE OF:--
+ J. R. Burnett, Orange, N.J. F. W. Beall, Architect, 743
+ C. H. Elmendorff, Kearney, Neb. Frank, Bailey & Farmer, Architects, 737
+ C. De Lacey Evan, Ruxton, Md. E. G. W. Dietrich, Architect, 734
+ Geo. W. Frank, Kearney, Neb. Frank, Bailey & Farmer, Architects, 743
+ Capt. Jesse H. Freeman, Brookline, Mass. W. A. Rodman, Architect, 738
+ Prof. C. E. Hart, New Brunswick, N.J. H. R. Marshall, Archt., 736
+ J. H. Howe, Rochester, N.Y. Nolan Bros., Architects, 736
+ Julius Howells, Chicago, Ill. Wm. H. Pfau, Architect, 740
+ A. H. Stem, Minnetonka Beach, Minn. A. H. Stem, Architect, 741
+ W. S. Wells, Newport, R.I. G. E. Harding & Co., Architects, 736
+ Albert Will, Rochester, N.Y. Otto Block, Architect, 735
+
+Houses for Potter Palmer, Chicago, Ill. C. M. Palmer, Architect, 735
+ " " Dr. A. Wharton, St. Paul, Minn. A. H. Stem, Architect, 739
+
+Netley Corners, Minneapolis, Minn. J. C. Plant, Architect, 744
+
+Premises of G. G. Booth, Detroit, Mich. Mason & Rice, Architects, 740
+
+Suggestion for the Executive Mansion by Theodore F. Laist. Successful
+ Design for the American Architect Travelling-Scholarship.
+
+Workman's Dwelling-house on the Cohesive System, 739
+
+
+ECCLESIASTICAL.
+
+Aberbrothwick Abbey, Arbroath, Scotland, 732
+
+Baptist Church, Gardiner, Me. Stevens & Cobb, Architects, 737
+
+Cathedral of St. Machar, Aberdeen, Scotland, 733
+
+Chapel, St. Paul's School, Concord, N.H. Henry Vaughan, Architect, 742
+
+Competitive Design for First Baptist Church, Malden, Mass. Lewis &
+ Phipps, Architects, 740
+
+COMPETITIVE DESIGN FOR THE:--
+ Cathedral of St. John the Divine, New York, N.Y.
+ Glenn Brown, Architect, 732
+ Cram & Wentworth, Architects, 738 (_Imp._)
+ B. G. Goodhue, Architect, 738 (_Imp._)
+ J. R. Rhind, Architect, 743 (_Imp._)
+
+Congregational Church, Wakefield, Mass. Hartwell & Richardson,
+ Architects, 744
+
+Dalmeny Church, Linlithgow, Scotland, 743 (_Imp._)
+
+Design for Presbyterian Church, Memphis, Tenn. W. Albert Swasey,
+ Architect, 742
+
+First Baptist Church, Elmira, N.Y. Pierce & Dockstader, Architects,
+ 739
+
+Memorial "Church of the Angels," Los Angeles, Cal. E. A. Coxhead,
+ Architect, 733
+
+St. Augustine Roman Catholic Church Buildings, Brooklyn, N.Y. Parfitt
+ Bros., Architects, 733
+ " Luke's Church, Mansfield, O. W. G. Preston, Architect, 744
+ " Regulus's Church, St. Andrews, Scotland, 734 (_Imp._)
+ " Salvator's Church, St. Andrews, Scotland, 734 (_Imp._)
+
+Sketch for a Church. Edward Stotz, Architect, 742
+
+Throop Ave. Presbyterian Church, Brooklyn, N.Y. Fowler & Hough,
+ Architects, 742
+
+
+EDUCATIONAL.
+
+High School, Cambridge, Mass. Chamberlin & Austin, Architects, 743
+ " " Los Angeles, Cal. J. N. Preston & Son, Architects, 738
+
+School-house, Lewiston, Me. Geo. F. Coombs, Architect, 735
+
+University, Strasbourg, Germany. Prof. Worth, Architect, 741
+
+
+FOREIGN.
+
+Aberbrothwick Abbey, Arbroath, Scotland, 732
+
+Balveny Castle, Scotland, 735
+
+Cathedral of St. Machar, Aberdeen, Scotland, 733
+
+Central Dome of Exhibition Buildings, Paris, France, 740
+
+Dalmeny Church, Linlithgow, Scotland, 743 (_Imp._)
+
+Hall, Craigievar Castle, Aberdeen, Scotland, 743 (_Imp._)
+
+Renaissance Doorways, Toulouse, France, 737
+
+St. Regulus's Church, St. Andrews, Scotland, 734 (_Imp._)
+ " Salvator's Church, St. Andrews, Scotland, 734 (_Imp._)
+
+Tower, St. Etienne du Mont, Paris, France, 737
+
+Town Hall, Sydney, N.S.W., 743
+
+University, Strasbourg, Germany. Prof. Worth, Architect, 741
+
+
+HOTELS.
+
+Alicia Springs Hotel, Pennfield, Pa. E. Culver, Architect, 738
+
+Hotel de Soto, Savannah, Ga. W. G. Preston, Architect, 733
+
+Sketch for Hotel at Norton, Va. Geo. T. Pearson, Architect, 734
+
+
+INTERIORS.
+
+Hall, Craigievar Castle, Aberdeen, Scotland, 743 (_Imp._)
+ " in House of W. R. Ray, Los Angeles, Cal. W. Redmore Ray,
+ Architect, 740
+
+Sitting-room in House of J. H. Howe, Rochester, N.Y. Nolan Bros.,
+ Architects, 736
+
+
+MERCANTILE.
+
+Anniston City Land Co. Building, Anniston, Ala. Chisolm & Green,
+ Architects, 734
+
+Building for the Boston Real Estate Trust. Cabot, Everett & Mead,
+ Architects, 744
+
+Design for an Office-building, Boston, Mass. C. H. Blackall, Archt.,
+ 734
+
+Factory Building, on the Cohesive System, 739
+
+Sketch of Store, Boston, Mass. Wait & Cutter, Architects, 732
+
+
+MISCELLANEOUS.
+
+Alcove Sleeping-car, 742
+
+Heads of Mexican Gods, 742
+
+Vault, Greenwood Cemetery, Brooklyn, N.Y. Renwick, Aspinwall &
+ Russell, Architects, 744
+
+
+PUBLIC.
+
+Central Dome of Exhibition Buildings, Paris, France, 740
+
+Town-hall, East Providence, R.I. W. K. Walker & Son, Architects, 738
+ " Sydney, N.S.W., 743
+
+
+RAILROAD.
+
+Competitive Designs for Railroad-stations, by the Rochester
+ Architectural Sketch Club, 738
+
+
+STABLES.
+
+Sketch of Stable, Paterson, N.J. C. Edwards, Architect, 735
+
+
+TOWERS AND SPIRES.
+
+Tower, St. Etienne du Mont, Paris, France, 737
+ " Sketched from the Competitive Design of C. B. Atwood, Architect,
+ for the New City-hall, New York, N.Y., 736
+
+Town Clock-tower. Designed by Willis Polk, Architect, 736
+
+
+BARONIAL AND ECCLESIASTICAL ANTIQUITIES OF SCOTLAND.
+
+Aberbrothwick Abbey, 732
+
+Balveny Castle, 735
+
+Castle Campbell, 739 (_Int._)
+
+Cawdor Castle, 738 (_Int._)
+
+Craigievar Castle, 743 (_Imp._)
+
+Dalmeny Church, 743 (_Imp._)
+
+St. Machar's Cathedral, 733
+ " Regulus's Church, 734 (_Imp._)
+ " Salvator's Church, 734 (_Imp._)
+
+
+ROTCH SCHOLARSHIP DRAWINGS.
+
+[_Published only in the Imperial and International Editions._]
+
+Angers Cathedral, 734 (_Imp._)
+
+Catania, 734 (_Imp._)
+
+Notre Dame, Poitiers, 734 (_Imp._)
+
+Pierrefonds, 734 (_Imp._)
+
+St. Ours, Loches, 731 (_Imp._)
+
+
+
+
+ILLUSTRATIONS.--INTERNATIONAL EDITION.
+
+[_The figures refer to the number of the journal and not to the
+page._]
+
+
+COLORED PRINTS.
+
+[_Published only in the Imperial and International Editions._]
+
+Detail of Entrance, Osborn Hall, New Haven, Conn. Bruce Price,
+ Architect, 744 (_Imp._)
+
+House of W. A. Burnham, Boston, Mass. E. C. Curtis, Archt., 739
+ (_Imp._)
+
+Ruined Chapel of Charles V, Yuste, Spain, 732
+
+Street View in Dinan, France, 736
+
+Torre del Vino, Alhambra, Granada, Spain, 732
+
+U.S. Trust Co.'s Building, New York, N.Y. R. W. Gibson, Architect, 734
+ (_Imp._)
+
+
+DETAILS.
+
+Capitals from Chamber of Commerce, Cincinnati, O. H. H. Richardson and
+ Shepley, Rutan & Coolidge, _Successors_, Architects, 740 (_Gel._)
+
+Detail of Entrance, Osborn Hall, New Haven, Conn. Bruce Price,
+ Architect, 744 (_Gel._)
+
+Entrance, Holcombe, Chatham, Eng. John Belcher, Architect, 739
+
+Font and Canopy, St. Peter, Mancroft, Norwich, Eng. Frank T.
+ Baggallay, Architect, 735
+
+House-gable on Taubenstrasse, Berlin, Germany. Herr Holst, Architect,
+ 742 (_Gel._)
+
+Piers of the Cathedral Portico, Lucca, Italy, 739 (_Gel._)
+
+Porte Cochere, Paris, France, 744 (_Gel._)
+
+Portico, Ecole de Medicine, Paris, France, 741 (_Gel._)
+
+Window in Grisaille Glass. W. R. Lethaby, Designer, 740
+
+Wrought-iron Gates, Chelmsford, Eng., 732
+
+
+DWELLINGS.
+
+A Country House. Horace R. Appelbee, Architect, 732
+
+Black Knoll, Brockenhurst, Eng. R. T. Blomfield, Architect, 742
+
+Butler's Wood, Chislehurst, Eng. Ernest Newton, Architect, 733
+
+Castle Campbell, Clackmannan, Scotland, 739
+
+Cawdor Castle, Nairn, Scotland, 738
+
+Chateau de Josselin, Morbihan, France, 733 (_Gel._)
+
+Coombe Warren, Kingston, England. George Devey, Architect, 732, 734
+
+Folkton Manor House, Eng. E. J. May, Architect, 743
+
+Hall Place, Tonbridge, Eng. George Devey, Architect, 741
+
+Holcombe, Chatham, Eng. John Belcher, Architect, 735, 738
+
+House at Exeter, Eng. James Crocker, Architect, 733
+ " " Goring-on-Thames, Eng. Geo. W. Webb, Architect, 740
+ " " Tunbridge Wells, Eng. George Devey, Architect, 741
+
+House-gable on Taubenstrasse, Berlin, Germany. Herr Holst, Archt., 742
+ (_Gel._)
+
+House, James St., Buckingham Gate, London, Eng. R. T. Blomfield,
+ Architect, 742
+ " near Birmingham, Eng. Essex & Nicol, Architects, 743
+
+HOUSE OF:--
+ J. Benic, Karlstadt, Austria. Hans Pruckner, Architect, 743 (_Gel._)
+ Mrs. Charles Blake, Boston, Mass. Sturgis & Cabot, Archts., 732
+ (_Gel._)
+ Charles F. Brush, Cleveland, O. George H. Smith, Archt., 742 (_Gel._)
+ W. A. Burnham, Boston, Mass. E. C. Curtis, Architect, 739 (_Gel._)
+ Mrs. Consino, Santiago, Chili, 733, 734
+ Senor Cuda, Santiago, Chili, 740 (_Gel._)
+ Mrs. S. T. Everett, Cleveland, O. C. F. & J. A. Schweinfurth,
+ Architects, 735 (_Gel._)
+ Herr Hatner, Buda-Pesth, Austria. Alfred Wellisch, Archt., 744 (_Gel._)
+ Mrs. T. T. Haydock, Cincinnati, O. J. W. McLaughlin, Archt., 743
+ (_Gel._)
+ Edwin Long, R.A., Hampstead, Eng. R. Norman Shaw, Architect, 744
+ Mr. McKenna, Santiago, Chili, 740 (_Gel._)
+ E. D. Pearce, Providence, R.I. Rotch & Tilden, Architects, 740
+ G. M. Smith, Providence, R.I. Stone, Carpenter & Willson, Architects,
+ 733 (_Gel._)
+ St. Simon, Angouleme, France, 735
+
+House on the Rauchstrasse, Berlin, Germany. Kaiser & Grossheim,
+ Archts., 741 (_Gel._)
+ " " " Yorkstrasse, Berlin, Germany. Herr Rintz, Architect, 744
+ (_Gel._)
+
+Mill Pond Farm, Cranbrook, Eng. M. E. Macartney, Architect, 743
+
+Official Residence of the Intendente, Santiago, Chili, 734
+
+Palace of Count Pallavicini, Vienna, Austria. Herr Von Hohenberg,
+ Architect, 743 (_Gel._)
+
+Residence of the Former Viceroy of the Province, Santiago, Chili, 738
+ (_Gel._)
+
+Semi-detached Houses, Ripon, Eng. T. Butler Wilson, Architect, 740
+
+The Gables, Felixstowe, Eng. William A. Thorp, Architect, 740
+
+Vicarage, Tweedmouth, Eng. F. R. Wilson, Architect, 744
+
+Villa Blanca, near Innsbruck, Austria. J. W. Deininger, Archt., 740
+ (_Gel._)
+
+
+ECCLESIASTICAL.
+
+All Saints' Church, Leek, Eng. R. Norman Shaw, Architect, 735
+ " " " London, Eng. Christopher & White, Architects, 743
+
+Cathedral, Quimper, France, 742 (_Gel._)
+
+Chapel of St. Mary of Nazareth, Edgware, Eng. James Brooks, Architect,
+ 736
+
+Church of All Saints, Falmouth, Eng. J. D. Sedding, Archt., 737
+ " " St. John the Baptist, Reading, Eng. E. Prioleau Warren,
+ Architect, 737
+ " " " Martin, Seamer, Eng. C. Hodgson Fowler, Architect, 742
+
+Cloister, Poblet, Spain, 737 (_Gel._)
+
+COMPETITIVE DESIGN FOR THE:--
+ Cathedral of St. John the Divine, New York, N.Y.
+ Edward C. Casey, Architect, 736
+ Stephen C. Earle, Architect, 736
+ John L. Faxon, Architect, 736
+
+Design for a Village Church. Gerald C. Horsley, Architect, 740
+ " " Church of the Good Shepherd, London, Eng. T. Phillips Figgis,
+ Archt., 733
+
+Episcopal Church, West Medford, Mass. H. H. Richardson, Archt., 737
+ (_Gel._)
+
+Font and Canopy, St. Peter Mancroft, Norwich, Eng. Frank T. Baggallay,
+ Architect, 735
+
+Interior of St. Paul Extra Muros, Rome, Italy, 734 (_Gel._)
+ " " the Cathedral, Albi, France, 734 (_Gel._)
+ " " " Hofkirche with Tomb of Maximilian I, Innsbruck, Austria,
+ 735 (_Gel._)
+ " " " Recoletu Church, Santiago, Chili, 735 (_Gel._)
+
+Parish Room and School, Charleton, Devon, Eng. F. J. Commin,
+ Architect, 739
+
+Ruined Chapel of Charles V, Yuste, Spain, 732
+
+Wesleyan Chapel, Leeds, Eng. T. Butler Wilson, Architect, 734
+
+
+EDUCATIONAL.
+
+Board School, Bromley, Kent, Eng. Vacher & Hellicar, Architects, 739
+
+COMPETITIVE DESIGN FOR:--
+ Gymnasium for Brown University, Providence, R.I.
+ Gould & Angell, Architects, 741
+ Stone, Carpenter & Willson, Architects, 741
+
+Design for a Board School. Geo. W. Webb, Architect, 733
+
+Old Facade, Ecole de Medecine, Paris, France, 741 (_Gel._)
+
+Osborn Hall, New Haven, Conn. Bruce Price, Architect, 741 (_Gel._)
+
+Parish Room and School, Charleton, Devon, Eng. F. J. Commin,
+ Architect, 739
+
+Swimming-bath and Gymnasium, Grocers' Company's Schools, Hackney
+ Downs, Eng. Henry C. Boyes, Architect, 736
+
+
+FOREIGN.
+
+All Saints' Church, Leek, Eng. R. Norman Shaw, Architect, 735
+ " " " London, Eng. Christopher & White, Archts., 743
+
+Arch of Septimus Severus, Rome, Italy, 734
+
+Auditorium of the Palace of the Trocadero, Paris, France, 732 (_Gel._)
+
+"Bargello," Florence, Italy. The, 734
+
+Black Knoll, Brockenhurst, Eng. R. T. Blomfield, Architect, 742
+
+Board School, Bromley, Kent, Eng. Vacher & Hellicar, Architects, 739
+
+Business Premises, London, Eng. Frederick Wallen, Architect. 738
+
+Butler's Wood, Chislehurst, Eng. Ernest Newton, Architect, 733
+
+"Ca' d'Oro," Venice, Italy. The, 734
+
+Castle Campbell, Clackmannan, Scotland, 739
+
+Cathedral, Quimper, France, 742 (_Gel._)
+
+Cawdor Castle, Nairn, Scotland, 738
+
+Chapel of St. Mary of Nazareth, Edgware, Eng. James Brooks, Architect,
+ 736
+
+Chateau de Josselin, Morbihan, France, 733 (_Gel._)
+
+Church of All Saints, Falmouth, Eng. J. D. Sedding, Archt., 737
+ " " St. John the Baptist, Reading, Eng. E. Prioleau Warren,
+ Architect, 737
+ " " " Martin, Seamer, Eng. C. Hodgson Fowler, Architect, 742
+
+Clee Park Hotel, Grimsby, Eng. E. W. Farebrother, Architect, 738
+
+Cloister, Poblet, Spain, 737 (_Gel._)
+
+Congress Hall and Chamber of Deputies, Santiago, Chili, 738 (_Gel._)
+
+Coombe Warren, Kingston, England. George Devey, Architect, 732
+
+Corridor in House of Edwin Long, R.A., Hampstead, Eng. R. Norman Shaw,
+ Architect, 744
+
+Design for Church of the Good Shepherd, London, Eng. T. Phillips
+ Figgis, Architect, 733
+
+Dining-room, Coombe Warren, Kingston, Eng. George Devey, Archt., 734
+
+Drawing-room, Holcombe, Chatham, Eng. John Belcher, Architect, 736
+
+Entrance, Holcombe, Chatham, Eng. John Belcher, Architect, 739
+
+Folkton Manor House, Eng. E. J. May, Architect, 743
+
+Font and Canopy, St. Peter Mancroft, Norwich, Eng. Frank T. Baggallay,
+ Architect, 735
+
+Frome Union Offices, Frome, Eng. Drake & Bryan, Architects, 744
+
+Grand Hotel, Vienna, Austria. Carl Tietz, Architect, 741 (_Gel._)
+
+Hall, Castle Campbell, Clackmannan, Scotland. The, 739
+ " Coombe House, near Shaftesbury, Eng. E. Towry White, Architect, 736
+ " Holcombe, Chatham, Eng. The, 738
+
+Hill Place, Tonbridge, Eng. George Devey, Architect, 741
+
+Holcombe, Chatham, England. John Belcher, Architect, 733, 736
+
+House at Exeter, Eng. James Crocker, Architect, 733
+ " " Goring-on-Thames, Eng. Geo. W. Webb, Architect, 740
+ " " Tunbridge Wells, England. George Devey, Archt., 741
+
+House-gable on Taubenstrasse, Berlin, Germany, 742 (_Gel._)
+
+House, James St., Buckingham Gate, London, Eng. R. T. Blomfield,
+ Architect, 742
+ " near Birmingham, Eng. Essex & Nicol, Architects, 743
+
+HOUSE OF:--
+ J. Benic, Karlstadt, Austria. Hans Pruckner, Architect, 743 (_Gel._)
+ Mrs. Consino, Santiago, Chili, 733, 734
+ Senor Cuda, Santiago, Chili, 740 (_Gel._)
+ Herr Hatner, Buda-Pesth, Austria. Alfred Wellisch, Archt., 744 (_Gel._)
+ Edwin Long, R.A., Hampstead, Eng. R. Norman Shaw, Archt., 744
+ Mr. McKenna, Santiago, Chili, 740 (_Gel._)
+ St. Simon, Angouleme, France, 735
+
+House on the Rauchstrasse, Berlin, Germany. Kaiser & Grossheim,
+ Archts., 741 (_Gel._)
+ " " " Yorkstrasse, Berlin, Germany. Herr Rintz, Architect, 744
+ (_Gel._)
+
+Interior in the Chateau de Josselin, Morbihan, France, 732, 733
+ (_Gel._)
+ " of St. Paul Extra Muros, Rome, Italy, 734 (_Gel._)
+ " " the Cathedral, Albi, France, 734 (_Gel._)
+ " " " Hofkirche, with Tomb of Maximilian I, Innsbruck, Austria,
+ 735 (_Gel._)
+ " " " Recoletu Church, Santiago, Chili, 735 (_Gel._)
+
+Italian Sketches, 734
+
+Kitchen, Castello di Vincigliata, Italy. G. Fancelli, Architect, 735
+
+"Lloyds," Trieste, Austria. Baron Heinrich von Ferstel, Architect, 740
+ (_Gel._)
+
+Mill Pond Farm, Cranbrook, Eng. M. E. Macartney, Architect, 743
+
+New Bourse du Commerce, Paris, France. H. Blondel, Architect, 735
+ " Premises, Chester, Eng. T. M. Lockwood, Architect, 737
+
+Official Residence of the Intendente, Santiago, Chili, 734
+
+Old Facade, Ecole de Medecine, Paris, France, 741 (_Gel._)
+
+Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne,
+ Paris, France, 743 (_Gel._)
+
+Palace of Count Pallavicini, Vienna, Austria. Herr Von Hohenberg,
+ Architect, 743 (_Gel._)
+ " " the Liberal Arts, Paris, France. J. C. Formige, Architect, 735
+
+Parish Room and School, Charleton, Devon, Eng. F. J. Commin,
+ Architect, 739
+
+Piers of the Cathedral Portico, Lucca, Italy, 739 (_Gel._)
+
+Porte Cochere, Paris, France, 744 (_Gel._)
+
+Portico, Ecole de Medecine, Paris, France, 741 (_Gel._)
+
+Railway Tavern, Grimsby, Eng. E. W. Farebrother, Architect, 738
+
+Residence of the Former Viceroy of the Province, Santiago, Chili, 738
+ (_Gel._)
+
+Ruined Chapel of Charles V, Yuste, Spain, 732
+
+Savings Bank, Linz, Austria. Austrian Building Co., Architects, 742
+ (_Gel._)
+
+Semi-detached Houses, Ripon, Eng. T. Butler Wilson, Architect, 740
+
+Stables, Holcombe, Chatham, Eng. John Belcher, Architect, 739
+
+Street View in Dinan, France, 736
+ " " " Santiago, Chili, 736 (_Gel._)
+
+Swimming-bath and Gymnasium, Grocers' Company's Schools, Hackney
+ Downs, Eng. Henry C. Boyes, Architect, 736
+
+Temples of Faustina and Romulus, Rome, Italy, 734
+
+The Gables, Felixstowe, Eng. William A. Thorp, Architect, 740
+
+Torre del Vino, Alhambra, Granada, Spain, 732
+
+Vicarage, Tweedmouth, Eng. F. R. Wilson, Architect, 744
+
+Villa Blanca, near Innsbruck, Austria. J. W. Deininger, Architect, 740
+ (_Gel._)
+
+Warehouse, Stockholm, Sweden. A. Egendomen, Architect, 735
+
+Wesleyan Chapel, Leeds, Eng. T. Butler Wilson, Architect, 734
+
+Wrought-iron Gates, Chelmsford, Eng., 732
+
+
+GELATINE.
+
+[_Published only in the Imperial and International Editions._]
+
+Auditorium of the Palace of the Trocadero, Paris, France, 732
+
+Capitals from Chamber of Commerce, Cincinnati, O. H. H. Richardson and
+ Shepley, Rutan & Coolidge _Successors_, Architects, 740 (_Imp._)
+
+Cathedral, Quimper, France, 742
+
+Chateau de Josselin, Morbihan, France, 733
+
+Cloister, Poblet, Spain, 737
+
+Congress Hall and Chamber of Deputies, Santiago, Chili, 738
+
+Detail of Entrance, Osborn Hall, New Haven, Conn. Bruce Price,
+ Architect, 744 (_Imp._)
+
+Entrance Hall in House of Prof. C. E. Hart, New Brunswick, N.J. H. R.
+ Marshall, Architect, 736, (_Imp._)
+
+Episcopal Church, West Medford, Mass. H. H. Richardson, Archt., 737
+ (_Imp._)
+
+Grand Hotel, Vienna, Austria. Carl Tietz, Architect, 741
+
+House-gable on Taubenstrasse, Berlin, Germany. Herr Holst, Archt., 742
+
+HOUSE OF:--
+ J. Benic, Karlstadt, Austria. Hans Pruckner, Architect, 743
+ Mrs. Charles Blake, Boston, Mass. Sturgis & Cabot, Archts., 732
+ (_Imp._)
+ Charles F. Brush, Cleveland, O. George H. Smith, Archt., 742 (_Imp._)
+ Senor Cuda, Santiago, Chili, 740
+ Mrs. S. T. Everett, Cleveland, O. C. F. & J. A. Schweinfurth,
+ Architects, 735 (_Imp._)
+ Herr Hatner, Buda-Pesth, Austria. Alfred Wellisch, Architect, 744
+ Mrs. T. T. Haydock, Cincinnati, O. J. W. McLaughlin, Architect, 743
+ (_Imp._)
+ Mr. McKenna, Santiago, Chili, 740
+ G. M. Smith, Providence, R.I. Stone, Carpenter & Willson, Architects,
+ 733 (_Imp._)
+
+House on the Rauchstrasse, Berlin, Germany. Kaiser & Grossheim,
+ Architects, 741
+
+House on the Yorkstrasse, Berlin, Germany. Herr Rintz, Archt., 744
+
+Interior in the Chateau de Josselin, Morbihan, France, 732, 733
+ " of St. Paul Extra Muros, Rome, Italy, 734
+ " " the Cathedral, Albi, France, 734
+ " " " Hofkirche with Tomb of Maximilian I, Innsbruck,
+ Austria, 735
+ " " " Recoletu Church, Santiago, Chili, 735
+
+Interiors in House at Malden, Mass. Chamberlin & Whidden, Architects,
+ 738 (_Imp._)
+
+"Lloyds," Trieste, Austria. Baron Heinrich von Ferstel, Architect, 740
+
+Old Facade, Ecole de Medecine, Paris, France, 741
+
+Osborn Hall, New Haven, Conn. Bruce Price, Architect, 741 (_Imp._)
+
+Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne,
+ Paris, France, 743
+
+Palace of Count Pallavicini, Vienna, Austria. Herr Von Hohenberg,
+ Architect, 743
+
+Piers of the Cathedral Portico, Lucca, Italy, 739
+
+Porte Cochere, Paris, France, 744
+
+Portico, Ecole de Medecine, Paris, France, 741
+
+Residence of the Former Viceroy of the Province, Santiago, Chili, 738
+
+Savings Bank, Linz, Austria. Austrian Building Co., Architects, 742
+
+Street View in Santiago, Chili, 736
+
+Villa Blanca, near Innsbruck, Austria. J. W. Deininger, Architect, 740
+
+
+HOTELS.
+
+Clee Park Hotel, Grimsby, Eng. E. W. Farebrother, Architect, 738
+
+Grand Hotel, Vienna, Austria. Carl Tietz, Architect, 741 (_Gel._)
+
+Railway Tavern, Grimsby, Eng. E. W. Farebrother, Architect, 738
+
+
+INTERIORS.
+
+Auditorium of the Palace of the Trocadero, Paris, France, 732 (_Gel._)
+
+Church of All Saints, Falmouth, Eng. J. D. Sedding, Archt., 737
+ " " St. Martin, Seamer, Eng. C. Hodgson Fowler, Architect, 742
+
+Corridor in House of Edwin Long, R.A., Hampstead, Eng. R. Norman Shaw,
+ Architect, 744
+
+Dining-room, Coombe Warren, Kingston, Eng. George Devey, Archt., 734
+
+Drawing-room, Holcombe, Chatham, Eng. John Belcher, Archt., 736
+
+Entrance Hall in House of Prof. C. E. Hart, New Brunswick, N.J. H. R.
+ Marshall, Architect, 736 (_Gel._)
+
+Hall, Castle Campbell, Clackmannan, Scotland. The, 739
+ " Coombe House, near Shaftesbury, Eng. E. Towry White, Architect, 736
+ " Holcombe, Chatham, Eng. John Belcher, Architect, 738
+
+Interior in the Chateau de Josselin, Morbihan, France, 732, 733
+ (_Gel._)
+ " of All Saints' Church, Leek, Eng. R. Norman Shaw, Architect, 735
+ " " St. Paul Extra Muros, Rome, Italy, 734 (_Gel._)
+ " " the Cathedral, Albi, France, 734 (_Gel._)
+ " " " Hofkirche with Tomb of Maximilian I, Innsbruck, Austria,
+ 735 (_Gel._)
+ " " " Recoletu Church, Santiago, Chili, 735 (_Gel._)
+
+Interiors in House at Malden, Mass. Chamberlin & Whidden, Architects,
+ 738 (_Gel._)
+
+Kitchen, Castello di Vincigliata, Italy. G. Fancelli, Architect, 735
+
+Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne,
+ Paris, France, 743 (_Gel._)
+
+Swimming-bath and Gymnasium, Grocers' Company's Schools, Hackney
+ Downs, Eng. Henry C. Boyes, Architect, 736
+
+
+MERCANTILE.
+
+Business Premises, London, England. Frederick Wallen, Architect, 738
+
+"Lloyds," Trieste, Austria. Baron Heinrich von Ferstel, Architect, 740
+ (_Gel._)
+
+New Premises, Chester, Eng. T. M. Lockwood, Architect, 737
+
+Savings Bank, Linz, Austria. Austrian Building Co., Archts., 742
+ (_Gel._)
+
+U.S. Trust Co.'s Building, New York, N.Y. R. W. Gibson, Architect, 734
+ (_Gel._)
+
+Warehouse, Stockholm, Sweden. A. Egendomen, Architect, 735
+
+
+MISCELLANEOUS.
+
+Historical Figures from the Lord Mayor's Procession, 732
+
+Italian Sketches, 734
+
+"Lion and Serpent." A. L. Barye, Sculptor, 732
+
+New Year's Day in the Olden Time, 735
+
+Norwich, from the Cromer Road, by John Sell Cotman, 742
+
+Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne,
+ Paris, France, 743 (_Gel._)
+
+Sketches in Normandy, by Herbert Railton, 739
+
+Street View in Dinan, France, 736
+ " " " Santiago, Chili, 736 (_Gel._)
+
+Swimming-bath and Gymnasium, Grocers' Company's Schools, Hackney
+ Downs, Eng. Henry C. Boyes, Architect, 736
+
+Winter, from a Painting by Nicolas Lancret, 741
+
+
+MONUMENTAL.
+
+Interior of the Hofkirche with Tomb of Maximilian I, Innsbruck,
+ Austria, 735 (_Gel._)
+
+
+PUBLIC.
+
+Congress Hall and Chamber of Deputies, Santiago, Chili, 738 (_Gel._)
+
+Frome Union Offices, Frome, England. Drake & Bryan, Architects, 744
+
+New Bourse du Commerce, Paris, France. H. Blondel, Architect, 735
+
+Palace of the Liberal Arts, Paris, France. J. C. Formige, Archt., 735
+
+
+STABLES.
+
+Stables, Holcombe, Chatham, England. John Belcher, Architect, 739
+
+
+TOWERS AND SPIRES.
+
+Torre del Vino, Alhambra, Granada, Spain, 732
+
+
+
+
+TEXT CUTS.
+
+[_These figures refer to the page of text, not to the plates._]
+
+
+Arch at Naples, 77
+
+Axe-head, 89
+
+Bracteates, 53, 54
+
+Capitals, 60, 91, 94, 156
+
+Cartoon for Sgraffito, 3
+
+Centennial Hall, Sydney, 184
+
+Chair from Khorsabad, 72
+
+CIVIL & DOMESTIC ARCHITECTURE:--
+ Basilica. A Roman, 51
+ Baths of Caracalla. Plan of, 36
+ Colonnade of the Louvre, Paris, 70
+ Foscari Palace, Venice, 68
+ Fountain, Place Stanislas, Nancy, 85
+ Garde-Meuble, Paris, 83
+ Gare d'Orleans, Paris, 88
+ Halle au Ble, Paris, 83, 84
+ Halles Centrales, Paris, 87, 88
+ Hotel de Ville, Brussels, 67
+ " " " Paris, 69
+ " " " St. Antonin, France, 51
+ " des Invalides, Paris, 70, 71
+ Library of St. Genevieve, Paris, 87
+ Mint, Paris. The, 83
+ Monument of Lysicrates, 35
+ Odeon, Paris. The, 84
+ Opera-House, Paris, 86
+ Palazzo Vecchio, Florence, 67
+ Place Stanislas, Nancy, 85
+ Procurazie Nuove, Venice, 68
+ Strozzi Palace, Florence, 70
+ Theatre of Herculaneum, 51
+ Tower of the Winds, 36
+
+Copper-plates from Etowah Mound, 153
+
+"Dance," Paris Opera-House. Carpeaux's, 101
+
+Doorway, Newport, R.I., 28
+
+Doorways. Carved Church, 38, 39
+
+Dormer, 58
+
+Entrance, Stokesay Castle, 155
+
+Equestrian Designs, 72, 170
+
+EQUESTRIAN MONUMENTS:--
+ Conde. The Great, 76
+ Louis XIV, 170, 171
+ Gustavus Adolphus, 73
+ Maximilian I, 74
+ Marcus Curtius, 170
+ Marshal Rantzau, 76
+ William of Orange, 72
+
+Fibula, 54
+
+FUNERARY ARCHITECTURE:--
+ Absalom's Tomb, 116
+ Campo Santo at Genoa, 167
+ " " " Pisa, 164
+ Catacombs, 147
+ Celtic Tumuli, 99
+ Egyptian Tombs, 100
+ Etruscan Tombs, 131
+ Hypogea, 115
+ Mausoleum of Taghlak, 148
+ Mediaeval Tombs, 163
+ Mougheir Tombs, 115
+ Phoenician Tombs, 116
+ Pyramids. The, 100
+ Roman Cippus, 134
+ " Columbarium, 134
+ " Funerary Urn, 134
+ Sepulchral Chapel at Paris, 167
+ Stelae, 116
+ Tomb at Montmorency, 166
+ Tomb at Palmyra, 134
+ Tomb at Pompeii, 133
+ Tomb in S. Maria del Popolo, Rome, 165
+ Tomb of
+ Louis de Breze, Rouen, 165
+ Cecilia Metella, Rome, 132
+ Hadrian, 132, 133
+ Louis XII, St. Denis, 164
+ Mazarin, Paris, 166
+ Nakschi Roustam, 117
+ Paul III, Rome, 166
+ St. Stephen, Obazine, 163
+ Marshal Saxe, Strasbourg, 167
+ Theodoric, Ravenna, 147
+ Tombs at Mycenae, 131
+ Tombs at Telmissus and Theron, 131
+ Tombs in India, 148
+ Tombs in Judea and Asia Minor, 117
+ Tomb of the Caliphs at Cairo, 148
+ Urn Containing Heart of Francis I, 164
+
+George Inn, Norton, Eng., 44
+
+Hall in House of J. H. Howe, Rochester, N.Y. Nolan Bros.,
+ Architects, 78
+
+Hinge. Wrought-iron, 135
+
+HISTORY OF HABITATION:--
+ Aztec Dwelling. An, 169
+ Byzantine House, 151
+ Egyptian House, 150
+ Etruscan House, 168
+ Gallo-Roman House, 150
+ Hebrew House, 169
+ Inca Dwelling, 149
+ Pelasgian Hut, 149
+ Phoenician House, 168
+
+Horns. Golden, 55, 56
+
+House of A. A. Carey, Cambridge, Mass. Sturgis & Brigham,
+ Architects, 23
+
+Impost, 50
+
+Martyrs Column, Naples, Italy, 22
+
+MILITARY ARCHITECTURE:--
+ Arch of Austria. The Louvre, 195
+ Assyrian Fortress, 179
+ Bastioned City. A, 196
+ Enceinte of Constantinople, 180
+ Fortification. Section of a, 196
+ Fortresses. Egyptian, 179
+ Plan of Tiryns, 179
+ Towers of Messene, 180
+ Tyre, 180
+ Wall of Castellum of Jublaius, 180
+ Wall of Chateau Gaillard, 195
+ Walls of Pompeii, 180
+ Walls of Verona, 180
+
+"Modern Improvements." "All the," 109, 141, 156, 174
+
+Monument. Scandinavian, 55
+ " to Egmont and Horn, Brussels, 9
+ " " Liszt, 5
+ " " Minine and Pojarsky, Russia, 27
+ " " the Heroes of the Franco-Prussian War, Berlin, 19
+
+Pulpit, 10
+
+Quintus Church, Mainz, 172
+
+Scabbard Ornament, 40
+
+Sculpture, Campanile of St. Mark's, 57, 93
+
+Sword Hilt, 37
+
+Tower, 24
+
+Turret, Rothenburg, Ger., 204
+
+Verplanck Homestead, Fishkill, N.Y., 26
+
+Waterspout, 90
+
+Window at Ulm, 201
+
+
+
+
+INDEX BY LOCATION.
+
+[_The figures refer to the number of the journal, and not to the
+page._]
+
+
+Aberdeen, Scotland. Cathedral of St. Machar, 733 (_Reg._)
+ " " Hall, Craigievar Castle, 743 (_Imp._)
+
+Albi, France. Interior of the Cathedral, 734 (_Int._)
+
+Angouleme, France. House of St. Simon, 735 (_Int._)
+
+Anniston, Ala. Anniston City Land Co. Building. Chisolm & Green,
+ Architects, 734 (_Reg._)
+
+Arbroath, Scotland. Aberbrothwick Abbey, 732 (_Reg._)
+
+Balveny Castle, Scotland, 735 (_Reg._)
+
+Berlin, Ger. House-gable on Taubenstrasse. Herr Holst, Architect, 742
+ (_Int._)
+ " " House on the Rauchstrasse. Kaiser & Grossheim, Architects,
+ 741 (_Int._)
+ " " House on the Yorkstrasse. Herr Rintz, Architect, 744 (_Int._)
+
+Birmingham, Eng. House near, Essex & Nicol, Architects, 743 (_Int._)
+
+BOSTON, MASS.:--
+ Building for the Boston Real Estate Trust, 744 (_Reg._)
+ Design for an Office-building. C. H. Blackall, Architect, 734 (_Reg._)
+ House of Mrs. Charles Blake. Sturgis & Cabot, Architects, 732 (_Imp._)
+ " " W. A. Burnham. E. C. Curtis, Archt., 739 (_Imp._)
+ Sketch of Store. Wait & Cutter, Architects, 732 (_Reg._)
+
+Brockenhurst, Eng. Black Knoll. R. T. Blomfield, Architect, 742
+ (_Int._)
+
+Bromley, Eng. Board School. Vacher & Hellicar, Architects, 739
+ (_Int._)
+
+Brookline, Mass. House of Capt. Jesse H. Freeman. W. A. Rodman,
+ Architect, 738 (_Reg._)
+
+Brooklyn, N.Y. St. Augustine's Roman Catholic Church Buildings.
+ Parfitt Bros., Architects, 733 (_Reg._)
+ " " Throop Avenue Presbyterian Church. Fowler & Hough,
+ Architects, 742 (_Reg._)
+ " " Vault, Greenwood Cemetery. Renwick, Aspinwall & Russell,
+ Archts., 744 (_Reg._)
+
+Buda-Pesth, Austria. House of Herr Hatner. Alfred Wellisch, Architect,
+ 744 (_Int._)
+
+Cambridge, Mass. High School. Chamberlin & Austin, Architects, 743
+ (_Reg._)
+
+Castle of Vincigliata, Italy. Kitchen. G. Fancelli, Architect, 735
+ (_Int._)
+
+Charleton, Eng. Parish Room and School. F. J. Commin, Architect, 739
+ (_Int._)
+
+Chatham, Eng. Holcombe. John Belcher, Architect, 735, 736, 738, 739
+ (_Int._)
+
+Chelmsford, Eng. Wrought-iron Gates, 732 (_Int._)
+
+Chester, Eng. New Premises. T. M. Lockwood, Architect, 737 (_Int._)
+
+Chicago, Ill. House of Julius Howells. Wm. H. Pfau, Architect, 740
+ (_Reg._)
+ " " Houses for Potter Palmer. C. M. Palmer, Architect, 735
+ (_Reg._)
+
+Chislehurst, Eng. Butler's Wood. Ernest Newton, Architect, 733
+ (_Int._)
+
+Cincinnati, O. Capitals from Chamber of Commerce. H. H. Richardson and
+ Shepley, Rutan & Coolidge, Successors, Architects,
+ 740 (_Imp._)
+ " " House for Mrs. T. T. Haydock. J. W. McLaughlin,
+ Architect, 743 (_Imp._)
+
+Clackmannan, Scotland. Castle Campbell, 739 (_Int._)
+
+Cleveland, O. House of Chas. F. Brush, George H. Smith, Architect, 742
+ (_Imp._)
+ " " House of Mrs. S. T. Everett. C. F. & J. A. Schweinfurth,
+ Architects, 735 (_Imp._)
+
+Concord, N.H. Chapel, St. Paul's School. Henry Vaughan, Architect, 742
+ (_Reg._)
+
+Cranbrook, Eng. Mill Pond Farm. M. E. Macartney, Architect, 743
+ (_Int._)
+
+Detroit, Mich. Premises of G. G. Booth. Mason & Rice, Architects, 740
+ (_Reg._)
+
+Dinan, France. Street View, 736 (_Int._)
+
+East Providence, R.I. Town-hall. W. R. Walker & Son, Archts., 738
+ (_Reg._)
+
+Edgware, Eng. Chapel of St. Mary of Nazareth. James Brooks, Architect,
+ 736 (_Int._)
+
+Elmira, N.Y. First Baptist Church. Pierce & Dockstader, Archts., 739
+ (_Reg._)
+
+Exeter, Eng. House at. James Crocker, Architect, 733 (_Int._)
+
+Falmouth, Eng. Church of All Saints. J. D. Sedding, Architect, 737
+ (_Int._)
+
+Felixstowe, Eng. The Gables. William A. Thorp, Architect, 740 (_Int._)
+
+Frome, Eng. Frome Union Offices. Drake & Bryan, Architects, 744
+ (_Int._)
+
+Gardiner, Me. Baptist Church. Stevens & Cobb, Architects, 737 (_Reg._)
+
+Goring-on-Thames, Eng. House. Geo. W. Webb, Architect, 740 (_Int._)
+
+Granada, Spain. Torre del Vino, Alhambra, 732 (_Int._)
+
+Greenville, N.Y. Cottage for Dr. T. H. Willard, Jr. Adolph Haak,
+ Architect, 737 (_Reg._)
+
+Grimsby, Eng. Clee Park Hotel. E. W. Farebrother, Architect, 738
+ (_Int._)
+ " " Railway Tavern. E. W. Farebrother, Architect, 738 (_Int._)
+
+Hackney Downs, Eng. Swimming-bath and Gymnasium, Grocers' Company
+ Schools. H. C. Bowes, Archt., 736 (_Int._)
+
+Hampstead, Eng. House of Edwin Long, R.A. R. Norman Shaw, Architect,
+ 734 (_Int._)
+
+Innsbruck, Austria. Interior of the Hofkirche, with Tomb of Maximilian I,
+ 735 (_Int._)
+ " " Villa Blanca, near. T. W. Deininger, Architect, 740
+ (_Int._)
+
+Karlstadt, Austria. House of J. Benic. Hans Pruckner, Architect, 743
+ (_Int._)
+
+Kearney, Neb. Block of Houses for E. K. Greene. Frank, Bailey &
+ Farmer, Architects, 741 (_Reg._)
+ " " House of C. H. Elmendorff. Frank, Bailey & Farmer,
+ Architects, 737 (_Reg._)
+ " " House of Geo. W. Frank. Frank, Bailey & Farmer, Architects,
+ 743 (_Reg._)
+
+Kingston, Eng. Coombe Warren. George Devey, Archt., 732, 734 (_Int._)
+
+Leeds, Eng. Wesleyan Chapel. T. Butler Wilson, Architect, 734 (_Int._)
+ " " All Saints' Church. R. Norman Shaw, Architect, 735 (_Int._)
+
+Lewiston, Me. School-house. Geo. F. Coombs, Architect, 735 (_Reg._)
+
+Linlithgow, Scotland. Dalmeny Church, 742 (_Imp._)
+
+Linz, Austria. Savings Bank. Austrian Building Co., Architects, 742
+ (_Int._)
+
+LONDON, ENG.:--
+ All Saints' Church. Christopher & White, Architects, 743 (_Int._)
+ Business Premises. Frederick Wallen, Architect, 738 (_Int._)
+ Design for Church of the Good Shepherd. T. Phillips Figgis, Architect,
+ 733 (_Int._)
+ House, James Street, Buckingham Gate. R. T. Blomfield, Architect, 742
+ (_Int._)
+
+Los Angeles, Cal. Hall in House of W. R. Ray. W. Redmore Ray,
+ Architect, 740 (_Reg._)
+ " " " High-School. J. N. Preston & Son, Archts., 738 (_Reg._)
+ " " " Memorial "Church of the Angels." E. A. Coxhead, Archt.,
+ 733 (_Reg._)
+
+Lucca, Italy. Piers of the Cathedral Portico, 739 (_Int._)
+
+Malden, Mass. Competitive Design for the First Baptist Church. Lewis &
+ Phipps, Architects, 740 (_Reg._)
+ " " House. Chamberlin & Whidden, Architects, 738 (_Reg._)
+ " " Interiors in House at. Chamberlin & Whidden, Architects,
+ 738 (_Imp._)
+
+Mansfield, O. St. Luke's Church. W. G. Preston, Architect, 744
+ (_Reg._)
+
+Memphis, Tenn. Design for Presbyterian Church. W. Albert Swasey,
+ Architect. 742 (_Reg._)
+
+Minneapolis, Minn. Netley Corners. J. C. Plant, Architect, 744
+ (_Reg._)
+
+Minnetonka Beach, Minn. House of A. H. Stem. A. H. Stem, Architect,
+ 741 (_Reg._)
+
+Morbihan, France. Chateau de Josselin, 733 (_Int._)
+ " " Interior in the Chateau de Josselin, 732, 733 (_Int._)
+
+Nairn, Scotland. Cawdor Castle, 738 (_Int._)
+
+New Brunswick, N.J. Entrance-hall in House of Prof. C. E. Hart. H. R.
+ Marshall, Architect, 736 (_Imp._)
+ " " " House of Prof. C. E. Hart. H. R. Marshall, Architect,
+ 736 (_Reg._)
+
+New Haven, Conn. Osborn Hall. Bruce Price, Architect, 741, 744
+ (_Imp._)
+
+Newport, R.I. House of W. S. Wells. G. E. Harding & Co., Archts., 736
+ (_Reg._)
+
+NEW YORK, N.Y.:--
+ Competitive Design for the Cathedral of St. John the Divine.
+ Glenn Brown, Architect, 732 (_Reg._)
+ Edward C. Casey, Archt., 736 (_Int._)
+ Cram & Wentworth, Architects, 738 (_Imp._)
+ Stephen C. Earle, Archt., 736 (_Int._)
+ John L. Faxon, Architect, 736 (_Int._)
+ B. G. Goodhue, Archt., 738 (_Imp._)
+ J. R. Rhind, Architect, 743 (_Imp._)
+ U.S. Trust Co.'s Building. R. W. Gibson, Architect, 734 (_Imp._)
+
+Normandy. Sketches in. By Herbert Railton, 739 (_Int._)
+
+Norton, Va. Sketch for Hotel at. Geo. T. Pearson, Architect, 734
+ (_Reg._)
+
+Norwich, Eng. Font and Canopy, St. Peter, Mancroft. Frank T.
+ Baggallay, Architect, 735 (_Int._)
+
+Orange, N.J. House of J. R. Burnett. F. W. Beall, Architect, 743
+ (_Reg._)
+
+PARIS, FRANCE:--
+ Auditorium of the Palace of the Trocadero, 732 (_Int._)
+ Central Dome of Exhibition Buildings, 740 (_Reg._)
+ Ecole de Medecine, 741 (_Int._)
+ New Bourse du Commerce. H. Blondel, Architect, 735 (_Int._)
+ Painting by Puvis de Chavannes in the Grand Hall of the Sorbonne,
+ 743 (_Int._)
+ Palace of the Liberal Arts. J. C. Formige, Architect, 735 (_Int._)
+ Porte Cochere, 744 (_Int._)
+ Tower, St. Etienne du Mont, 737 (_Reg._)
+
+Paterson, N.J. Sketch of Stable. C. Edwards, Architect, 735 (_Reg._)
+
+Pennfield, Pa. Alicia Springs Hotel. E. Culver, Architect, 738
+ (_Reg._)
+
+Poblet, Spain. Cloister, 737 (_Int._)
+
+PROVIDENCE, R.I.:--
+ Competitive Design for Gymnasium for Brown University. Gould & Angell,
+ Architects, 741 (_Int._)
+ Competitive Design for Gymnasium for Brown University. Stone, Carpenter
+ & Willson, Archts., 741 (_Int._)
+ House of E. D. Pearce. Rotch & Tilden, Archts., 740 (_Int._)
+ " " G. M. Smith. Stone, Carpenter & Willson, Architects, 733
+ (_Imp._)
+ Old Iron and Brass Work, 737 (_Reg._)
+
+Quimper, France, Cathedral, 742 (_Int._)
+
+Reading, Eng. Church of St. John the Baptist. E. Prioleau Warren,
+ Architect, 737 (_Int._)
+
+Ripon, Eng. Semi-detached Houses. T. Butler Wilson, Architect, 740
+ (_Int._)
+
+Rochester, N.Y. House of J. H. Howe. Nolan Bros., Architects, 736
+ (_Reg._)
+ " " House of Albert Will. Otto Block, Architect, 735 (_Reg._)
+ " " House on Portsmouth Terrace. W. C. Walker, Architect, 736
+ (_Reg._)
+
+Rome, Italy. Interior of St. Paul Extra Muros, 734 (_Int._)
+
+Ruxton, Md. House of C. De Lacey Evan. E. G. W. Dietrich, Architect,
+ 734 (_Reg._)
+
+St. Andrews, Scotland. Churches of St. Regulus and St. Salvator, 734
+ (_Imp._)
+
+St. Paul, Minn. Houses for Dr. A. Wharton. A. H. Stem, Archt., 739
+ (_Reg._)
+
+SANTIAGO, CHILI:--
+ Congress Hall and Chamber of Deputies, 738 (_Int._)
+ House of Mrs. Consino, 733, 734 (_Int._)
+ " " Senor Cuda, 740 (_Int._)
+ " " Mr. McKenna, 740 (_Int._)
+ Interior of the Recoletu Church, 735 (_Int._)
+ Official Residence of the Intendente, 734 (_Int._)
+ Residence of the former Viceroy of the Province, 738 (_Int._)
+ Street View, 736 (_Int._)
+
+Savannah, Ga. Hotel de Soto. W. G. Preston, Architect, 733 (_Reg._)
+
+Seamer, Eng. Church of St. Martin. C. Hodgson Fowler, Archt., 742
+ (_Int._)
+
+Shaftesbury, Eng. Hall, Coombe House, near. E. T. White, Archt., 736
+ (_Int._)
+
+Stockholm, Sweden. Warehouse. A. Egendomen, Architect, 735 (_Int._)
+
+Strasbourg, Germany. University. Prof. Worth, Architect, 741 (_Reg._)
+
+Sydney, N.S.W. Town-hall, 743 (_Reg._)
+
+Tonbridge, Eng. Hall Place. George Devey, Architect, 741 (_Int._)
+
+Toulouse, France. Renaissance Doorways, 737 (_Reg._)
+
+Trieste, Austria. Lloyds. Baron Heinrich von Ferstel, Architect, 740
+ (_Int._)
+
+Tunbridge Wells, Eng. House. George Devey, Architect, 741 (_Int._)
+
+Tuxedo, N.Y. Cottage at. Renwick, Aspinwall & Russell, Architects, 744
+ (_Reg._)
+
+Tweedmouth, Eng. Vicarage. F. R. Wilson, Architect, 744 (_Int._)
+
+Vienna, Austria. Grand Hotel. Carl Tietz, Architect, 741 (_Int._)
+ " " Palace of Count Pallavicini. Herr Von Hohenberg,
+ Archt., 743 (_Int._)
+
+Wakefield, Mass. Congregational Church. Hartwell & Richardson
+ Architects, 744 (_Reg._)
+
+West Medford, Mass. Episcopal Church. H. H. Richardson, Architect, 737
+ (_Imp._)
+
+Yuste, Spain. Ruined Chapel of Charles V, 732 (_Int._)
+
+
+
+
+THE AMERICAN ARCHITECT AND BUILDING NEWS.
+
+VOL. XXVII. Copyright, 1890, by TICKNOR & COMPANY, Boston, Mass. No.
+732.
+
+
+Entered at the Post-office at Boston as second-class matter.
+
+JANUARY 4, 1890.
+
+
+
+
+[Illustration: CONTENTS]
+
+
+SUMMARY:--
+
+The Incomes of Architects.--Death of Mr. George F.
+Durand, Architect.--Concrete Arches.--An Architect's
+Responsibility for Exceeding the Stipulated Cost of a
+Building.--A French Case in Point.--A Contractor
+Engages in Profit-Sharing with his Workmen. 1
+
+THE APARTMENT-HOUSE. 3
+
+ARCHITECTURE IN BROOKLYN. 5
+
+THE STRUCTURE OF SANDSTONE. 9
+
+THE BARYE EXHIBITION. 10
+
+ILLUSTRATIONS:--
+
+"The Lion and the Serpent."--Auditorium of the Palace
+of the Trocadero, Paris, France.--An Interior in the
+Chateau de Josselin, Morbihan, France.--Torre del Vino,
+Alhambra, Granada, Spain.--Ruins of the Chapel of
+Charles V, Yuste, Spain.--Coombe Warren, Kingston,
+England: Garden Front.--Coombe Warren, Kingston,
+England: Entrance Front.--A Gentleman's Country
+House.--Wrought-Iron Gates, Duke Street,
+England.--Historical Figures from Lord Mayor's
+Procession, 1889.--House of Mrs. Charles Blake, Beacon
+Street, Boston, Mass.--Competitive Designs for the
+Cathedral of St. John the Divine, New York, N.Y.--Abbey
+of Aberbrothwick: Gallery over Entrance.--Abbey of
+Aberbrothwick: The Western Doorway.--Design for a
+Store. 12
+
+SOCIETIES. 14
+
+COMMUNICATIONS.--
+
+Barye's Admirer.--Evaporation of Water in Traps. 15
+
+NOTES AND CLIPPINGS. 15
+
+TRADE SURVEYS. 16
+
+ * * * * *
+
+That extraordinary phenomenon, which those who read many newspapers
+sometimes encounter, of the inspiration of two writers following
+tracks so closely parallel that their effusions are word for word the
+same from beginning to end, was recently to be observed in the case of
+the New York _Herald_ and the Pittsburgh _Leader_, which published on
+the same day an article devoted to architects or, rather, to their
+incomes, which held up these fortunate professional men as objects to
+be envied, if not by all the world, at least by journalists, many of
+whom have just now a way of writing about rich men or women which
+suggests the idea that the journalist himself was brought up in a
+jail, and sees nothing but the pockets of those whom he favors with
+his attention. The present writers, after half a column or so of
+rubbish about the grandeur of American buildings, furnish the New York
+and Pittsburgh public with the information that "there are in the city
+of New York at least ten architects whose annual net income is in
+excess of a hundred thousand dollars, while in Philadelphia, Chicago,
+Boston and St. Louis there are quite as many who can spend a like
+amount of money every year without overdrawing their bank accounts."
+This is certainly very liberal to the architects, but what follows is
+even more so. "There are," we are told, in addition to the magnates
+just mentioned, "hosts of comparatively small fry whose annual profits
+will pass the fifty-thousand-dollar mark." If an architect whose net
+income is only a thousand dollars a week belongs to the "small fry,"
+what name would these journalists have for the remaining insignificant
+beings who practise architecture faithfully and skilfully, and thank
+Providence sincerely if their year's work shows a profit of three
+thousand dollars? Yet, with a tolerably extended acquaintance in the
+profession, we are inclined to think that this list includes the
+greater part of the architects in this country. As to the architects
+whose usual income from their business is a hundred thousand dollars,
+they are pure myths. The New York-Pittsburgh authority mentions by
+name Mr. R. M. Hunt as one of them. As a counterpoise to this piece of
+information, we will mention what a worthy contractor once said to us
+about Mr. Hunt. The builders were not, in those days, very fond of our
+venerated President. He had altogether too many new ideas to suit
+their conservatism, which looked with horror on anything out of the
+common way. "The fact is," said the contractor, in a burst of
+confidence, "Mr. Hunt never could get a living at all if he hadn't a
+rich wife." By averaging these two pieces of misinformation, after
+the manner of the commissioners of statistics, one may, perhaps, get
+some sort of notion of what a very able and distinguished architect in
+New York, seconded by skilful and devoted assistants, can make out of
+his business; but men so successful are extremely rare exceptions in
+the profession, and the "hosts" of "small fry" whose annual profits
+amount to fifty thousand dollars, of course, do not exist. It would be
+a waste of time to notice such ridiculous assertions, were it not that
+they do a great deal of harm to the profession and the public: to the
+profession by making people believe that architects are combined to
+extort an unreasonable compensation for their work; and to the public
+by spreading the idea that the profession of architecture is just the
+one in which their sons can become rapidly rich without much trouble.
+It would be a useful thing to publish here, as is done in England, the
+value of the estate left at their death by architects of distinction,
+although in many cases this is greatly increased by inheritance, by
+marriage, by fortunate investments or by outside employment; but, if
+this should be done, it would be not less useful to publish also a few
+true accounts of the early trials and struggles of architects. How
+many of them have we known who have given drawing-lessons, illustrated
+books, designed wall-papers, supervised laborers, delivered
+lyceum-lectures or written for newspapers, happy if they could earn
+two dollars a day while waiting for a vacancy in the "hosts" of
+architects with a thousand dollars a week income. How many more, who
+were glad of the help of their faithful young wives in eking out the
+living which had love for its principal ingredient. And of those who
+have persisted until time and opportunity have brought them a
+comparatively assured, though modest position, how many have found
+their way to it through architecture? If we are not mistaken, less
+than half of the trained students in architecture turned out by our
+technical schools are to be found in the profession six years later.
+The others, ascertaining, on a closer view, that their expected income
+of fifty thousand dollars a year is farther off than they anticipated,
+and that fifty thousand cents is about as much as they can expect for
+a good many years to come, drift away into other employments, and some
+of them, no doubt, will be much astonished to learn from the newspaper
+reporters what they have missed.
+
+ * * * * *
+
+We regret very much to hear of the death of Mr. George F. Durand,
+Vice-President of the Canadian Society of Architects; which occurred
+at London, Ontario, last week. Mr. Durand was young in the profession,
+being only thirty-nine years old, but was very widely and favorably
+known among architects and the public, both in Canada and elsewhere.
+He was a native of London, but after spending a short time in the
+office of the city engineer there, he went to Albany, N.Y., where he
+was employed by Mr. Thomas Fuller as his chief assistant in the work
+on the new capitol, which was then in Mr. Fuller's hands. When Mr.
+Fuller was superseded, Mr. Durand left Albany with him, and, after a
+year spent in Maine, with a granite company, he returned to his native
+city, where he soon found constant and profitable employment, having
+for several years built a large part of the most important structures
+in Western Ontario. The London _Advertiser_, to which we owe most of
+our information as to his works, offers to his relatives and friends
+the sincere sympathy of the public which it represents, and we are
+sure that the architects of the United States will join with their
+brethren in Canada in mourning the loss of one who, at so early an
+age, had conquered for himself so conspicuous a place in his laborious
+profession.
+
+ * * * * *
+
+Some interesting experiments on concrete arches were made recently,
+during the construction of the new railway station at Erfurt. Some of
+the rooms were to be covered with concrete floors, carried on iron
+beams, while others, of smaller size, were intended to be spanned by
+arches extending from wall to wall. One of the latter, something over
+seven feet in width, was covered with concrete, flat on top, and
+forming on the underside a segmental arch, the thickness of the
+material at the crown of the arch being four inches, and about eleven
+inches at the springing. The concrete was made of "Germania" Portland
+cement, mixed dry with gravel, moistened as required, and well rammed
+on the centring; and skew-backs were cut in the brick walls at the
+springing line, extending two courses higher, so as to give room for
+the concrete to take a firm hold on the walls. Fourteen days after
+completion, this floor was loaded with bricks and sacks of cement to
+the amount of more than six hundred pounds per square foot, without
+suffering any injury, although, after the load was on, a workman
+hammered with a pick on the concrete, close to the loaded portion, so
+as to provoke the cracking of the arch if there had been any tendency
+to rupture. In the other cases, the concrete arches being turned
+between iron beams, the strength of the floor was limited by that of
+the beams, so the extreme load could not be put on; but the curious
+fact was established that a section of concrete flat on top, and
+forming a regular segmental arc beneath, was far stronger than one in
+which a portion of the under surface was parallel to the upper;
+showing, apparently, that the arched form, even with homogeneous
+concrete, causes the conversion of a large part of a vertical pressure
+into lateral thrust, reducing by so much the tendency of the load to
+break the concrete transversely. This observation is important
+theoretically as well as practically. It has been of late generally
+maintained that a concrete arch is not an arch at all, but a lintel,
+without thrust, and that the common form, flat above and arched
+beneath, is objectionable, as it gives least material at the centre,
+where a lintel is most strained. The Erfurt experiments directly
+contradict this view, and it remains for some students of architecture
+to render the profession a service by repeating them, and, at the same
+time, actually determining the thrust, for a given load, of arches of
+particular forms. Until this is done, the concrete construction, which
+is likely, we may hope, to become before many years the prevailing one
+in our cities, will be practised with difficulty and uncertainty, if
+not with danger. Incidentally, a trial was made of the effect of
+freezing on the concrete. The floor of a room arched in four bays,
+between iron beams, had just been finished when the weather became
+cold, and on the morning after its completion the thermometer stood at
+twenty above zero. The concrete had not been protected in any way, and
+the contractor was notified that it had been frozen, and must be
+removed. This was early in December, and it was about the first of
+April before the work of removal, preliminary to replacing the
+concrete with new material, was begun. Three bays had been wholly or
+partly removed when the hardness of the concrete under the workmen's
+tools attracted attention, and the arch remaining intact was tested
+with a load of three hundred pounds per square foot, which it bore
+perfectly.
+
+ * * * * *
+
+The question how far an architect can be held responsible in damages,
+in cases where the cost of work exceeds the estimates, is examined in
+a recent number of _La Semaine des Constructeurs_, and some
+considerations are mentioned which are new to us. According to
+Fremy-Ligneville, the most familiar authority on the subject, the
+architect incurs no responsibility whatever, either for his own
+estimates or those of other people, unless he intentionally and
+fraudulently misleads his client by a pretended estimate. In this
+case, as in that of any other fraud, he is liable for the results of
+his crime. Except under such circumstances, however, the architect's
+estimate of cost is simply an expression of opinion, the correctness
+of which he does not guarantee, any more than a lawyer guarantees the
+correctness of an opinion, although important interests may depend
+upon it. The owner can estimate the value of the architect's opinion,
+as of the lawyer's, by the professional reputation of the man who
+gives it, and, if he wishes to be more secure, he can go to another
+architect, as he would to another lawyer, for an independent estimate.
+Moreover, if the owner of the projected building is still anxious that
+the cost should be strictly limited to the sum estimated by the
+architects, he can have a contract drawn by which the builder shall be
+obliged to complete it for that sum, and can have his plans and
+specifications examined by competent authority, to see if they include
+everything necessary. This ought to make him reasonably sure what his
+house will cost him, provided he does not himself make changes in the
+plans or specifications. If he has omitted to take this precaution,
+and, as his building goes on, he finds that it is likely to exceed the
+estimate, he has another excellent opportunity to protect himself, by
+ordering immediately such changes in the plans and specifications for
+the work yet remaining to be done as may reduce the expense to the
+desired amount, and by doing so he generally suffers no damage, as, if
+he does not get all he expected to for his money, he gets all his
+money will pay for.
+
+ * * * * *
+
+With all these opportunities for revising and testing the correctness
+of an architect's estimate, the man who neglects to avail himself of
+any of them, and who allows the work on his house to go on, after it
+has become evident that it will cost more than the estimate, has,
+according to M. Fremy-Ligneville, no claim against any one on account
+of his disappointment. Of course, the architect should be as careful
+in his estimates as his experience allows him to be, and any
+conscientious man would try not to mislead a client, but both he and
+his client must remember that when the tenders of the builders
+themselves usually vary from fifty to a hundred per cent for the same
+piece of work, an architect's estimate cannot be anything more than an
+opinion. Moreover, the architect should not forget that, being an
+opinion, and not a guaranty, he is not only at liberty to modify it as
+much and as often as he sees fit, but is bound to do so, and to inform
+his client at once of the change, when fuller information, or
+alteration in the circumstances, shall show him that the original
+estimate is likely to be exceeded. If he does this frankly, although
+his client may be disappointed, he cannot reproach the architect with
+trying to deceive him, and there will probably still be time to make
+the changes necessary for reducing the expense to the desired point.
+In a case decided in Paris in July, 1855, a man was condemned to pay
+fifty-four thousand francs for repairs done on a house. He proved that
+his architect had estimated the expense at seven or eight thousand,
+but it was shown that the architect had subsequently informed him that
+it would be necessary to do more work than was at first contemplated,
+and that he had made inquiries about the matter, and had turned out
+his tenants so that the work might be done, and had paid the
+contractors more than the sum originally estimated; and the court
+thought he had no case at all against the architect.
+
+ * * * * *
+
+The great building firm of Peto Brothers, in England, having been
+awarded a contract for a large public building, have taken advantage
+of what, as they say, they consider a favorable opportunity to
+initiate a system of profit-sharing with their men, in accordance with
+a circular which is printed in the _Builder_. The system described by
+the circular is very simple. It is to apply for the present, only to
+the contract mentioned, but, if it works well, will be extended to
+future cases. Under the arrangement proposed one-quarter of the net
+profits of the contract are, when the building is done and the
+accounts settled, to be divided, as a bonus above their wages, among
+the men who have worked on it, in proportion to the wages they have
+earned. The conditions under which each man is entitled to his share
+are that he shall have worked long enough on the contract to have
+earned five pounds, at the regular rate of wages; that he shall not
+have neglected his duty, or misconducted himself, or wasted his time,
+or in other ways have acted so as to diminish the profits of the
+contract, or injure the reputation of the firm for good and honest
+work; and, that he shall not have engaged in any strike for shorter
+hours, or for wages above the schedule of wages which prevailed at the
+time the contract was made, and upon which the contract price was
+based. That the workmen may assure themselves of the fairness with
+which the division is carried out they are invited by the circular to
+send a representative to watch the making-up of the accounts by the
+auditor of the firm, and to sign the balance-sheet. In order to
+identify the claimants, every man must obtain a printed ticket from
+the time-keeper, on beginning his work, countersigned by the foreman,
+and noting the day and hour when his employment commenced, with his
+name, number and wages. This is to be again signed and countersigned
+when he leaves, and must be produced to secure a share in the
+dividend. Unpretending as it is, this bids fair to be one of the most
+interesting experiments in social science yet tried, and unless the
+trades-unions in England have forgotten their prowess, it will not be
+carried out without a struggle. Our readers will remember Mr. Lewis H.
+Williams's experiences in trying a similar plan with his carpenters in
+New York, and his final victory, but he had only one union to contend
+with, and that not a very compact one, while Messrs. Peto Brothers
+will have all the building trades about their ears at once, and the
+great question whether men shall be allowed to do only a fixed amount
+of work in a day, and that amount as small as possible, or whether
+they shall be allowed to work as they please, will be fairly brought
+before the parties for decision.
+
+
+
+
+THE APARTMENT-HOUSE.
+
+
+[Illustration: "THE SURE REVOLVING TEST OF TIME--PAST AND PRESENT"
+CARTOON FOR SGRAFFITO by HEYWOOD SUMNER.]
+
+From _Building News_.
+
+Most people are willing to admit that they cannot afford to pay over
+twice as much for a thing as it is worth; but few in this country are
+aware that they do this very thing when they build for themselves an
+independent city dwelling-house or pay a rent equivalent to or greater
+than the interest on this outlay.
+
+In the old country the secret of obtaining luxury and economy combined
+in building has been learned, and rich and poor, fashionable and
+unfashionable alike live in "flats." In America, people have not yet
+learned this lesson, but cling to the old and barbarous custom of
+living _perpendicularly_ in isolated towers, with all the cares and
+worries that go with isolated management.
+
+[Illustration: Figure 1.]
+
+Nothing shows more clearly than this, how much man is a creature of
+habit. In his savage state, the nature of his existence necessitated
+the isolated hut. As civilization advanced, however, the necessity
+for, and enormous advantages of cooeperation became evident, but habit
+perpetuated the isolated dwelling long after the reasons for its
+existence had disappeared, and it required centuries for civilized men
+to learn that cooeperation is an element as essential to perfection in
+the arrangement of their habitations as it is in other things.
+
+_A given accommodation may be obtained in the form of a "flat" for
+less than one-half the outlay required to obtain it in the form of an
+independent dwelling built on the same land._
+
+The form of comparison herein presented has never, to my knowledge,
+been heretofore made, and the results are as surprising as they are
+important and interesting.
+
+The estimates of cost have been made by several competent contractors
+on scale drawings and accurate specifications, are easily verified and
+hence may be accepted as reliable.
+
+Figure 1 is one of the plans of our apartment-house which is to be
+built on the Back Bay, Boston.
+
+Figure 2 shows the floor-plans of an independent house which might be
+built on the same land. Both figures are drawn to the same scale for
+convenience in comparing the dimensions. The independent-house (which
+I shall, in contradistinction to the "flat," designate as the "tower"
+to mark its prominent point of difference from the "flat" in form)
+contains a kitchen, pantry, furnace-room, fuel-cellar, laundry,
+dining-room, china-closet, parlor, eight bed-chambers provided with
+suitable closets, two bath-rooms, a trunk-room, a front staircase
+extending from the first floor to the attic, and a back staircase
+extending from the basement to the third floor. What will these
+accommodations cost in this form and what in the form of a "flat" in
+an apartment-house?
+
+The apartment-house contains a public kitchen, steam-heating,
+ventilating and electric-lighting isolated plants, fuel-cellar,
+laundry, cafe, billiard-room, gentlemen's smoking-room, ladies'
+parlor, small public dining-rooms, and eighty suites, _averaging_ five
+rooms, a bath-room and closets in each, and with a trunk or
+storage-room in the basement for each suite; four elevators and four
+fireproof staircases of iron and marble enclosed in brick walls from
+basement to roof.
+
+The suites are of different sizes to suit the proposed occupants, and
+will have from two to twelve or more rooms of varying dimensions as
+desired. They are partly "housekeeping" suites, _i. e._, having
+kitchens and dining-rooms; partly "hotel" suites, _i. e._, having
+neither kitchens nor dining-rooms, the occupants preferring to use the
+public cafe and dining-rooms; and partly "semi-housekeeping" suites,
+_i. e._, having dining-rooms and china-closets with dumb-waiters
+connecting them with the public-kitchen, but no independent kitchen.
+The "housekeeping" suites require one more bed-room than the others,
+to accommodate a private cook.
+
+Assuming now at first in our comparison those conditions which are
+least favorable to the apartment-house, we will take one of the
+"housekeeping" suites, having precisely the same number and size of
+rooms as we find in our independent house or "tower" and compare
+costs.
+
+The only difference in the accommodation in each case is that, in the
+"flat," the rooms are accessible to one another without the use of
+stairs, while in the "tower" six flights of stairs in all are used,
+constituting in the aggregate a ladder, as it were, of about a hundred
+steps; also in the fact that in the "tower" the owner has to manage
+his own heating, ventilating and hot-water supply apparatus, while in
+the "flat" this work is done for him; that in the "tower" wooden
+staircases and no elevators are used, while in the "flat" fireproof
+staircases enclosing elevators are provided; that in the "tower" the
+main partitions are often of wood while in the flat they are of brick
+a foot thick and each "flat" is separated from its neighbor by a brick
+wall a foot thick and all the floors are completely deadened against
+the transmission of sound; and finally that in the "tower" no external
+fire-escape is provided, while the "flat" has convenient external
+fire-escapes of iron. Otherwise the accommodations are in both cases
+precisely the same.
+
+The total cost of this apartment-house, including the building-lot
+valued at, say, $5 a square foot, has been carefully estimated at
+$617,771.
+
+This is the highest of two competitive estimates given by two
+responsible builders, and comprises general cooking-plant,
+electric-lighting, steam-heating and ventilating apparatus, iron
+staircases and fire-escapes, elevators, copper roofing, architect's
+commission, and, in short, everything required for occupancy and use
+except wall-paper.
+
+The first floor contains 16,688 square feet of available room. (By
+"available" I mean room which is directly occupied by, and which must
+be separately provided for each owner. That is, it excludes
+staircases, furnace, laundry, etc., which might be used in common by
+many owners and therefore need not be duplicated for each, and which
+are only indirectly serviceable to each owner in contributing to the
+usefulness of those which are directly enjoyed.) The six floors above
+contain 23,288 square feet of available room each, making a total of
+156,416 square feet. Adding 10,880 square feet for basement storage
+and trunk-room for the suites, and 2,000 square feet in the basement
+for barber's shop, apothecary, carriage and other offices along the
+street fronts, we have a total of 169,296 square feet of available
+room in the entire apartment-house. Dividing the total cost $617,771
+by this figure we have $3.65 for the cost of each square foot of
+available room in the building.
+
+Our "tower" measures twenty-five feet front on party lines, by seventy
+feet deep. Its available rooms comprise parlor, library, music-room,
+eight closeted-chambers, two bath-rooms, a trunk-room, a dining-room,
+and we may add a kitchen for those who still believe in having an
+independent cook.
+
+The area of these rooms is as follows:
+
+ Parlor 374 sq. ft.
+ Library 374 "
+ Music-room 154 "
+ Chamber No. 1 384 "
+ Chamber No. 2 528 "
+ Chamber No. 3 170 "
+ Chamber No. 4 252 "
+ Chamber No. 5 162 "
+ Chamber No. 6 286 "
+ Chamber No. 7 242 "
+ Chamber No. 8 315 "
+ 2 Bath-rooms 144 "
+ Trunk-room 136 "
+ Dining-room 408 "
+ Kitchen 384 "
+ China-closet 136 "
+ Other closets 410 "
+
+Making a total of 4,859 square feet of available room in the "tower."
+Its total cost on a twenty-five foot lot of the average depth on the
+Back Bay, _i. e._, 112 feet, the land being valued as before at $5 per
+square foot, would be at the lowest estimate $32,000 at the present
+prices, the wood finish being equally good with that in the "flat." If
+we figure, however, for the same style of lighting, heating,
+ventilating and fireproofing, and provide an elevator and outside
+fire-escape, the cost could not be put below $40,000.
+
+The same amount of available space, _i. e._, 4,859 square feet in our
+"flat" would cost at $3.65 per square foot as above estimated,
+$17,735.
+
+If now we consider that the management of a private kitchen and an
+Irish cook does not actually constitute the essence of a home in its
+broadest sense, but, that on the contrary, it really deprives a home
+of its greatest charm, namely, peace of mind and rest of body, the
+kitchen and the cook's bed-chamber may be omitted from our "flat" in
+view of the public kitchen. The area of our "flat" then becomes 4,475
+square feet, which, at $3.65 per foot, brings the cost down to a
+little over $16,000.
+
+Finally, if we omit the dining-room also, with its china-closet, our
+area becomes 3,931 square feet, and the cost only $14,350 for the
+"flat," against $40,000 for the "tower," the former being but little
+over a third of the latter.
+
+So much for the saving in the case of a large family and large suite.
+For a small suite, such as would be required for a single person, or a
+small family of two or three persons, the saving at once mounts to a
+very much larger figure; so much so, indeed, as to render the use of
+the isolated house in such cases a most inordinate extravagance,
+except for the very rich. Thus a single person, or a family of two or
+three, could be very comfortably provided for with three or four
+rooms, and a bath-room in an apartment-house having a good cafe.
+Estimating the rooms to measure 18 x 22 feet, their area would be a
+little over 400 feet each, including closets, and their cost $1,460
+apiece; or for smaller rooms of, say, 14 x 15 feet, or 224 square-feet
+surface, the cost would be but $818 apiece. An isolated dwelling, on
+the same land, of only eighteen feet frontage and fifty feet deep,
+would cost, including the lot at $5 a foot, not less than $18,000 or
+$8,000, without the land. Of course, in such an isolated dwelling,
+electric-lighting, steam-heating, fireproof stairs, and other luxuries
+of the "flat," would hardly be expected.
+
+By the arrangement of our apartment-house, there are twenty-four
+corner-suites out of the eighty. These have direct sunlight on either
+one or both of their exposed fronts, and may be estimated as worth
+fifty per cent more than the rest. In other words, 3/10 of the whole
+available room space is worth fifty per cent more, and 7/10
+correspondingly less than the average price of $3.65 per foot.
+Therefore, $3.65 x 1-1/2 = $5.47 = price of corner-suites per foot,
+3/10 x the total area 169,296 square feet = 50,788 square feet x $5.47
+= $277,810, which, deducted from $617,771, leaves $339,961 to
+represent the total cost of the remaining 7/10. The total area 169,296
+x 7/10 = 118,507 square feet of available space in the inner-suites.
+Hence $339,961/118,507 = $2.86 as the price per square foot of the
+inner-suites, or all suites which are not corner-suites.
+
+Now, as our estimates on the "tower" were made on the basis of its
+being an inner building in a block and not a corner-house, our
+estimates for the "flat" should be on a basis of $2.86, instead of
+$3.65, as taken. Therefore, our suite of 4,859 square feet would be
+but $13,896 if the "flat" were any other than a corner one, and if the
+public kitchen and cafe were used, it would be $11,242, or _but a
+little more than a quarter of that of the "tower!"_
+
+The foregoing figures are easily explained, and their correctness
+verified by the following simple diagrams and considerations:
+
+[Illustration: Figure 2.]
+
+In Figure 2 the shaded parts of the plans represent the unavailable
+room which, under the apartment-house system, are rendered
+unnecessary, and they are practically wasted. Thus the eighty
+families, by uniting their eighty homes in one cooeperative apartment,
+save 156 staircases consisting of seventy-six front and eighty back
+staircases, seventy-eight furnaces, seventy-nine laundries, etc., and
+nearly all the space they occupy, and the land, foundation and roof
+they represent.
+
+[Illustration: Figure 3.]
+
+This waste space may be graphically shown by the diagrams in Figure 3.
+The large black-and-white line represents the "tower," and the shorter
+the "flat." The black part of each line denotes unavailable, and the
+white part available room, the sum of the two denoting the total
+cubical contents of each dwelling. The white parts of the lines
+measure the same length in each case, because the amount of available
+room in "tower" and "flat" is assumed at the outset to be the same.
+Thus in the "tower," the front and back staircases and halls take up
+22,000 cubic feet out of the total 106,000 cubic feet covered by the
+entire building. In the "flat" the proportional part of the halls and
+staircases for each suite is represented by a comparatively
+insignificant quantity as shown.
+
+Again, an enormous waste is shown in the flooring, roof and air-spaces
+of the "tower," while this item is but a trifle in the "flat." The six
+floors, each 16 inches thick, and the roofing make up together in the
+"tower" 12,000 cubic feet, or nearly the equivalent of an entire
+story. Add to this 12,000 cubic feet of air-space under the roof and
+over the concrete, and we have in these items a waste of 24,000 cubic
+feet, against only 4,000 in the "flat."
+
+Thus we see that the waste space in the "tower" actually exceeds the
+available. Yet it must be paid for at the same rate with the latter.
+Deducting the waste in the "flat" from that in the "tower," we find
+the balance of waste space in the "tower" to be equal to the
+available, showing graphically that the "tower" must cost, in these
+items alone, just twice as much as the "flat."
+
+[Illustration: Figure 4.]
+
+Figure 4 shows a block-plan on a very small scale of the
+apartment-house, and a block-plan on the same scale of 40 "towers"
+adjoining each other, and having the same available space as the
+apartment-house. These plans show how much more land is required to
+give the same accommodations (minus the conveniences and luxuries of
+an apartment-house) in the "tower" system than in the "flat."
+
+The shaded portions in each block-plan represent the aggregate of
+available room in each case. This shows very strikingly what an
+enormous proportion of land and material is wasted in the "tower"
+system.
+
+In short, the possible saving in first cost for each family adopting
+the "flat" system of building lies between $14,265 and $28,758, making
+an aggregate saving for the 80 families occupying the apartment of
+between one and two millions of dollars.
+
+The annual running expenses are also greatly in favor of the "flat"
+system when the advantages of cooeperation are used to its greatest
+extent.
+
+Eighty independent Irish cooks give way to a professional _chef_ and
+half-a-dozen _attaches_. The wages and maintenance of the 80 cooks
+would amount to an annual sum of not less than $40,000; those of the
+_chef_ and his assistants to hardly $10,000, making in this one item a
+possible annual saving of $30,000.
+
+The management of the 80 independent Irish cooks, if possible at all,
+could only be accomplished by the constant struggle of 80 worried and
+largely inexperienced owners or their wives. The management of the
+_chef_ and his _attaches_ could more easily be managed by a single
+person, either selected from among the 80 families and suitably
+recompensed, or employed as a professional manager at a regular
+salary. Or the entire control of the _cafe_, and kitchen could be let
+out by contract to some suitable caterer, if preferred.
+
+Corresponding savings are evidently possible in every other department
+of housekeeping, including steam-heating, ventilating, laundry-work,
+lighting and elevator-work. In all of these particulars, cooeperation,
+judiciously conducted, has been shown to yield surprising economies.
+
+But there are other advantages even more important than its economy in
+favor of the "flat." Freedom from housekeeping cares has already been
+touched upon. In the "tower," life is spent in training and treating
+with servants, mechanics and market-men. The private cook is a volcano
+in a house, slumbering at times, but always ready to burst forth into
+destructive eruption. True repose is out of the question, and we are
+told that "the motive for foreign travel of perhaps one-half of
+Americans is rest from household cares and the enjoyment of good
+attendance, freed from any responsibility in its organization and
+management."
+
+Security against burglary and fire is another. In a good
+apartment-house, trained watchmen stand on guard night and day to
+protect the occupants, and stand-pipes, hose and fire-buckets are
+provided in all the halls, and kept in repair for emergency.
+
+The family may leave their apartments for travel summer or winter,
+knowing that their property is as secure as modern appliances, system
+and ingenuity can make it. Not so with our isolated dwelling. The cost
+of providing all these means of protection is too great to make them
+practicable. The result is that the fear of burglary and fire at all
+times causes uneasiness, particularly on the part of the wife during
+the absence of her husband.
+
+Beauty in the architectural arrangement of the rooms is a third
+advantage of the "flat." In this it has all the advantage of the
+double house or residence of the immensely rich. The rooms may be
+grouped in a manner which renders possible the highest architectural
+effect, whereas in the "tower" the perpendicular arrangement evidently
+precludes such opportunity by limiting the design to a wearisome and
+monotonous repetition from basement to attic.
+
+No argument can be sustained against the "flat" on the ground of
+transmission of sound or want of privacy and isolation, for sound may
+be as fully deadened as in the "tower" by means of the 12-inch brick
+separating walls shown in our plan, and the most improved deafening
+treatment of the floor-joists.
+
+Isolation may be made complete in the "flat," the private halls and
+front doors of each suite being in every respect the equivalent of
+those in the "tower"; the only difference being that with the "flat"
+the outer world begins with the public hall and its elevator, while
+with the "tower" it begins with the public street and its horse-car.
+
+Add to these advantages the possibility for a greatly enlarged and
+delightful social intercourse which a properly arranged and conducted
+apartment-house provides, and we have as near an approach to the ideal
+of a human habitation as has yet been devised.
+
+J. P. PUTNAM.
+
+
+
+
+ARCHITECTURE IN BROOKLYN.
+
+
+[Illustration]
+
+The city of Brooklyn has at last waked up to realize her size and
+importance architecturally. Brooklyn, though growing very rapidly and
+having many buildings of importance, has really had very little good
+architecture, for the simple reason that the profession, not being in
+any way organized, could not, as a rule, receive the treatment due
+respectable architects. For this reason many young men who would not
+be capable of practising elsewhere, have flocked to this city, and by
+various methods, many of which are far from honorable, have succeeded
+in getting control of most of the work. However, we hope for better
+things.
+
+The Brooklyn Institute some time ago decided to organize a Department
+of Architecture, and for this purpose a meeting of architects was
+called, which led to several more meetings and the attendance at these
+was exceedingly hopeful for the new department, some forty or fifty
+architects signifying their willingness to help along in the work;
+finally a public meeting was held in the Institute on Friday December
+13, at which some six or seven hundred persons were present, and the
+Department was fully organized; the constitution carefully thought-out
+at the previous meetings was adopted, and the following list of
+officers chosen:
+
+_President_, G. L. Morse; _Vice-President_, Louis De Coppet Berg;
+_Secretary_, William B. Tubby; _Treasurer_, Gustave A. Jahn;
+_Committee on Current Work_, Richard M. Upjohn, R. L. Daus and Louis
+De Coppet Berg; _Committee on Museum and Library_, Walter E. Parfitt,
+Pierre Le Brun; and Wm. Hamilton Gibson; _Committee on Competitions
+and Awards_, R. L. Daus, D. E. Laub, Russell Sturgis; _Committee on
+Professional Practice_, Walter Dickson, Albert F. D'Oench, Richard M.
+Upjohn; _Committee on Social Intercourse_, H. P. Fowler, Charles T.
+Mott and General Ingram.
+
+During the necessary intervals of balloting, etc., the President, Mr.
+George L. Morse, made a short address, setting forth the history of
+the previous meetings, and congratulating the local architects on the
+prospect of having a strong and well-organized society.
+
+Mr. Louis De Coppet Berg, of the firm of J. C. Cady & Co., Architects,
+then addressed the meeting as follows:--
+
+ When a young man enters a profession, and particularly
+ the profession of architecture, if perchance he gets
+ an original idea, or a little knowledge, he at once
+ becomes very secretive, tries to keep it all to
+ himself for fear some one else will benefit by it, and
+ marks all his drawings "The property of...," and "Not
+ to be copied, or used, without the consent of the
+ author, _under penalty of the law_." As he grows a
+ little older in his profession he begins to find out
+ that a few others have ideas as well as himself, and
+ know a little something once in a while; and as he
+ grows still older he finds that there are a great many
+ others, who know a great deal more than he does, and
+ who have a great many better ideas than he has; and
+ then it is, that he longs for communication with his
+ professional brethren, and he finds that, in order to
+ get the benefit of their ideas and knowledge, he must
+ freely communicate his own to them. Hence it is that
+ in most of the large cities we find some association
+ of architects; Brooklyn, however, the third city of
+ the Union, is unique in this respect, that it has
+ absolutely no place where professional architects can
+ meet and discuss the different problems of their
+ profession.
+
+ To remedy this evil, the Brooklyn Institute proposed
+ to establish a Department of Architecture, and for
+ this purpose called together a large number of local
+ architects.
+
+ Now, we have decided that, if we have any Department
+ at all, it shall be a live one; and this reminds me of
+ a squib I read in the paper the other day, telling
+ how, somewhere in Spain, they had unearthed an old
+ painting, which was pronounced a genuine Murillo. It
+ was said that the experts could not as yet determine
+ whether the subject of the cracked and dingy old
+ canvas was a Madonna or a Bull Fight, but that,
+ nevertheless, they did not hesitate to declare that it
+ was a great acquisition to art. Now, that is the
+ trouble with most associations of architects; if the
+ subject for discussion is only old, cracked and dingy
+ enough, they are happy. Nothing delights them more
+ than to spend all their time and energies in
+ discussing Etruscan or other antique architectures, or
+ the exact differentiations between the many styles of
+ architecture. Now, while we value the history of an
+ art, and shall give it all due attention, we propose
+ to remember that the modern architect, besides being
+ an artist, must be one of the most practical and
+ executive of business men.
+
+ We admit that our ancestors in the profession designed
+ beautiful castles, magnificent cathedrals and lovely
+ chateaux, but we remember that these castles, these
+ cathedrals, these chateaux were planned without any
+ comfort; that they had no plumbing devices, no methods
+ for cooking, no systems of heating or ventilation, and
+ no way of getting light but the miserable taper; while
+ to-day the architect, besides being a thorough artist,
+ who knows how to design and to color, besides being
+ thoroughly up in the history of his art, must know how
+ to plan for comfort, to construct for strength and
+ stability; must understand all the details of boilers,
+ machinery, dynamos, electric-wiring, heating and
+ ventilating systems, plumbing and sanitation, and
+ lastly must be able to manage the complicated finances
+ of large undertakings.
+
+ Now, to carry out these ideas in our work, we shall,
+ in the first place, establish a museum and library, to
+ which we shall welcome all gifts of books, pictures,
+ models, casts, etc., whether illustrating the
+ artistic, or the practical side of the profession.
+ Then we shall have a course of monthly, public
+ lectures by competent authorities, the subjects of
+ which will probably be very largely chosen from the
+ artistic side of the profession. We also propose to
+ have stated meetings of the Department monthly, at
+ which some carefully selected papers will be read by
+ experts, the subjects of which will be given out as
+ long in advance as possible, in order that all may be
+ thoroughly prepared for a full and open discussion;
+ and then, after these meetings, in order to promote
+ sociability amongst the members, and to show how
+ thoroughly practical we are, we propose to have
+ something to eat. We also hope later to establish
+ schools, not only for young men, but particularly for
+ draughtsmen, where they can be taught, not only the
+ art of drawing, but also the many practical branches
+ connected with the profession.
+
+The meeting was also addressed by the Rev. Dr. Chas. H. Hall,
+President of the Associate Members. He spoke at great length and kept
+his audience intensely interested by describing his own acquaintance
+with architecture, beginning with the original negro log-house down
+South, then the prim buildings of old Andover and Harvard, and finally
+how he saw the great former St. Ann's of Brooklyn, the likeness of
+which, he said, could be seen any day on the piers of New York when
+they were unloading dry-goods boxes; and how he finally went abroad
+and saw the beautiful architecture of Paris, which he could not praise
+enough. He was also unstinted in his praise of the modern beauty and
+architecture of Washington. He also spoke of his visits to London,
+and, while he admitted that Englishmen thought their architecture
+beautiful, he took exception, and claimed that the great St. Paul's,
+though beautiful to the English eye, was a cold barren building,
+blacked with smoke inside and out, a place where you could not be
+comfortable, nor hear the speaker at any distance. We regret that we
+are not able to give a verbatim account of his witty address.
+
+At the end of Dr. Hall's address, the lecturer of the evening,
+Professor Russell Sturgis, architect, of New York, addressed the
+meeting as follows, his subject being "The Study of Architecture,"
+with particular reference to the architecture of to-day.
+
+
+ADDRESS OF MR. RUSSELL STURGIS.
+
+With regard to architecture and all the arts of decoration, there is a
+strange difference between the practice of them, and such study as
+looks toward practice, on the one hand, and the history and theory of
+them, with such study as that involves, on the other. Quite completely
+are these two studies separated, each from the other. A man may be
+most active and successful as a practising designer, and successful in
+an artistic way, too, with no knowledge and little thought of the
+history of his own branch of art, and with little curiosity as to its
+philosophy or its poetry. And, on the other hand, a man may be a very
+earnest student, and a happy and delighted student of the history and
+criticism of art, and know nothing, and care as little, about the
+profession or practice of any art, or about studio ways and studio
+traditions. I do not know that in any branch of human study this
+distinction is so marked and so strong. This is to be regretted, for
+many reasons, but it can hardly be done away with so long as the
+community is generally careless of both the theoretical and the
+practical--so long as the students and the practitioners alike feel
+themselves nearly isolated units, floating in a sea of good-humored
+indifference. This state of things only time can alter. Only time can
+civilize our new community in intellectual and perspective matters;
+but there are some other conditions which are more immediately in our
+power to modify, perhaps--let us see:
+
+It is as true as if it had not been repeated, even to fatigue and
+boredom, that the arts of decoration have been in a bad way for a good
+part of the century past, at least among some European and
+Europeanized nations. I do not imagine that a Frenchman would admit
+that architecture and the arts of decoration had ever languished in
+his own society. Your cultivated Frenchman would say that some periods
+were better than others, but that there were no bad periods; he would
+say that, to be sure, the style of the First Napoleon's Empire was not
+a very fortunate style,--too stiff, too absurdly pseudo-classic,
+unworthy of France, a poor enough successor of the dainty and playful
+art of Louis XV, or the somewhat more refined and restrained art of
+Louis XVI: but he would say that it was art still, and the period a
+not wholly inartistic period; and even of the dull times of the
+Napoleon of Peace, from 1830 to 1848, while he would confess to a
+great deal of languor and lack of public spirit of all sorts, except
+in the struggle which the Romantic artists, headed by Delacroix, waged
+with the Classicists, headed by Ingres; while he would admit that the
+abundant wood-cuts and lithographs, the painting and statues much less
+abundant even in proportion, and the buildings very few and
+unimportant, were not sufficient to make up a great artistical epoch,
+that is, for France; yet as for its being an epoch without art,--such
+a thing as that, he would say France had not known since she was
+France. And he would be right.
+
+But if said of England it would be pretty nearly true, if it were said
+that the whole amount of art of the decorative kind that existed in
+England between 1810 and 1850, for instance, would fill but a small
+museum, and that its quality would fill but slight requirements, it
+would require a bold Anglophil to contradict. There came a dull pall,
+like that of her own black fogs, over social London, and the
+stucco-fronted languors of Baker Street and Portland Place are no
+worse than were the dull monotony of the interiors behind them.
+Veneered and polished mahogany furniture, very much too large and too
+heavy for the rooms; black haircloth, like the grave clothes of Art,
+for the covering of everything that could be sat upon; cold,
+brownish-red curtains, of shiny but not lustrous material; silver
+candlesticks of monstrous design,--these, and such as these, were the
+decorative objects which our fathers or our grandfathers admired, or
+felt that they must admire for want of better, during the unhappy
+years that I have cited. The delicate carvings that the furniture of a
+generation just previous had received, were forgotten. People put up
+with Chippendale chairs in their dining-rooms because they had
+belonged to their fathers and nothing special was offered to take
+their place; but there is no record that they cared for them. The
+richer and more fantastic carvings of Grinling Gibbons had never
+obtained any general recognition nor availed to modify the woodwork of
+the domestic interiors of England. The brocades and flowered silks
+which the eighteenth century had revelled in, and if in England not
+strong enough artistically to produce them itself, had brought into
+England from other lands;--these were replaced by the dismal things I
+have alluded to, and no vestige of them seems to have remained in the
+parlors of that unhappy time.
+
+Richness of costume had disappeared with the wars of the French
+Revolution. Embroidered silk coats had given place gradually to
+claret-colored and blue broadcloth, and this gave place to black, and
+all variety in costume had disappeared completely; and now, from 1810
+to 1850, fantastically varied and interesting house-furnishing and
+decoration had followed, as I suppose it inevitably must follow;
+costume, being, one fears, a necessary part of anything like a
+prosperous artistic epoch.
+
+Out of this gloomy depression the Anglo-Saxon world, in England and in
+this country, is trying to emerge. It began its efforts with the
+perfectly natural conviction that by studying the artistic history of
+the past, something could be done to benefit the arts of the present.
+The Gothic revival, which you have heard of so much, and which was
+followed with real ardor and with unquestioning zeal by crowds of
+devotees for years, beginning with, perhaps, 1840, was an attempt
+along the most obvious lines,--along what seemed to be the line of
+least resistance, to change the metaphor. To develop anew an old art,
+which had flourished so greatly in the past,--how easy! and how
+certain! How certain were the enthusiasts of that time, that by
+earnestly poring over and closely analyzing and heartily loving the
+buildings of the thirteenth and fourteenth centuries, such buildings,
+and others like them, could be built in the nineteenth! How happy was
+the conviction of all these men that it was not more difficult than
+that! The secret of what had been done was to be found in the
+phenomena themselves. There, in this parish church, in this cathedral,
+lay the secret of their charm. Let us analyze first, they said, and
+let us put together again the ingredients that our analysis shall have
+discovered, and we will re-create the thing that we are in search of.
+
+In like manner, in the minor arts, the people of 1850 felt, or some of
+them did, that they did not know how to weave curtains that it was
+worth any one's while to hang up, except to shut out the light and
+shut in the warmth; that so far as beauty of texture, beauty of
+pattern, and beauty of color went, they were powerless to produce
+anything of any avail. But they saw that the Venetians of the
+sixteenth century and the Florentines of the seventeenth century and
+the French of the eighteenth century had produced splendid stuffs; and
+although there were no museums in those days that condescended to
+anything so humble, such stuffs were still to be bought of the
+bric-a-brac dealers, and very cheap, too, and still existed, rolled up
+in some old garrets. By studying them, surely the art of making others
+like them could be learned. And so around the whole circle of the arts
+of decoration, it was believed, and in thoroughly good faith, and
+with, as it seemed, perfectly good reason, that the study of what had
+been would suffice, with zeal and patience and good will, to the
+production of what should be.
+
+Well, the experiment has failed. Archaeology is the most delightful of
+pursuits, but it is not particularly conducive of good art. The German
+professor, who knows the most about Phidian sculpture, is as far as
+his youngest pupil from being able to produce anything Phidian, but,
+of course, this is not a fair example. The German professor does not
+profess to be a sculptor. Let us say then, that that sculptor now
+alive who knows the most, theoretically and historically about Greek
+art, is as far as his most ignorant contemporary and rival from having
+Greek methods of work. This is a safe proposition. I do not know who
+he is, nor can any one tell me. It is not a question of men, but of
+principles. The study of the monuments of art is one thing, their
+analysis, their criticism, their comparison, is one of the most
+attractive, the most fascinating, the most stimulating, the most
+absorbing of studies, one that I shall never cease commending in the
+most earnest way to all those persons to whom scholarship is dear and
+to whom it is a question of recommending a study which is worthy of
+their most earnest and hearty devotion, but it is not the study of
+practical art, that is another and a very different thing.
+
+The way to make good sculpture is to let the youth thumb and punch and
+dabble in wet clay, and see what he can make of it; and the way to
+make a painter is to give the boy now a burnt stick, and at another
+time a pin and a back of a looking-glass, and see what he can
+delineate with such materials as these and with all other materials
+with which a line can be drawn. To look at the world, and what it
+contains, and to try and render what is suggested to him,--that is the
+training for the artist, and it has more to do with our beloved study
+of archaeology than if they were not concerned with the same subject.
+This, I say, has been proven. Sad experience, the waste of forty years
+of work, disappointment and despair, have taught some of our artists
+what others did not need to learn,--that the way to succeed was not
+through study of the past. The artist has no primary need of
+archaeological knowledge; the archaeologist has no need of any fact that
+the artist can furnish him with.
+
+Suggestions; yes! Each side can furnish the other with suggestions in
+abundance, and suggestions which each can immediately profit by. An
+able artist, if a fellow of modesty and frank speech, can hardly talk
+without giving the student of the theory of art hints which the latter
+should study over at home before he sleeps upon them; for the secret
+of much that is vital and essential in his study is to be found in
+these hints; and on the other hand, I imagine that an artist would be
+better off, and have more play of mind, and readier and fresher
+conceptions, if he would now and then listen to what the student of
+old art has to tell him about what is to be observed in this or that
+monument of the past. But beyond that there is no connection between
+them. I will run two _ateliers_ side by side, one for archaeologists,
+and one for practical students of architecture and they need never
+mix.
+
+This will be more readily admitted, perhaps, in the case of the arts
+of expression than in the case of arts of decoration and let us define
+these terms. If you will allow me, I will quote from an address
+delivered a year ago before the New York Architectural League. Any
+work of art whose object is to explain and express the thing
+represented, or to convey the artist's thought about the thing
+represented, is art of representation, or, if you please, art of
+expression, or if you please, expressional art. I offer these as
+nearly synonymous terms. But if, on the other hand, the work of art
+has for its object the adornment of a surface of any sort, as a
+weapon, a utensil, an article of costume, and if the natural objects
+represented or suggested are used only as suggestions to furnish
+pretty lines and pleasant tints, which lines and tints might have been
+after all represented apart from the object were man's mind more
+creative than it is,--that is art of decoration.
+
+Now, architecture, you see, is primarily an industrial affair, a
+method of covering men in from the rain, and admitting light into
+their protected interiors, and of warming those interiors, and in a
+few rare cases of ventilating them, and in providing a variety of
+apartments, communications, and the like for the varied requirements
+of a complicated existence; and it need not put on any artistic
+character at all. But as architecture becomes a fine art, it is
+perforce one of the arts of decoration. It has nothing to do with the
+arts of expression. Mr. Ruskin and all his life work to the contrary,
+notwithstanding, the business of building is not to tell tales about
+the world and its contents, not to set forth the truths of botany or
+of zoology, or of humanity, or of theology. If zoological or botanical
+or human objects are introduced, or representations of them, it is not
+for the sake of information that can be given about these interesting
+things, nor for the sake of expressing the artist's mind about them,
+nor for the sake of saying anything whatever in regard to them. It is
+for the sake of making the building beautiful. When the Oxford Museum
+stood presenting to the street a flat-fronted wall, diversed with
+pointed arches, and carvers were set to work bands of rich sculpture
+around the windows; although Mr. Ruskin had a great deal to do with
+that edifice, and architects of his own choosing were in charge of it,
+and clever Irish workmen of his own approval were producing the
+interesting carvings of those archivolts and tympanums, in spite of
+all theories, the object aimed at and the object attained by that
+outlay of time and money and skill was the beautifying of the
+building, and this was achieved to an extent probably beyond what its
+planners proposed to themselves, for the effect of well-applied
+sculpture upon a building is beneficial to an extent that would never
+be believed by one who has not often watched the changes that can be
+wrought in this way. They who have said that the Gothic Cathedral is
+nothing but a work of associated sculpture are not far wrong, and to
+produce a lovely building, one would rather have the blankest
+malt-house or brewery in New York, and some good carvers set to work
+upon it, than to have the richest architectural achievement of our
+time, devoid as it is and must be of decorative sculpture. For to get
+decorative sculpture, you must have your sculptors; and they, you
+know, are wanting. Where are the men who will model capitals and
+panels in clay, with some sense of ornamental effect? We have the men
+who can make a copy in relief of an architect's drawings: but then the
+architect, even if he have the sense of ornamental effect, in the
+first place can never draw out, full size and with care, all the work
+required in a rich building, and, in second place, can never design
+sculptured form aright by mere drawings on the flat. The architects of
+New York and Brooklyn are employing today, I suppose, 3,000
+draughtsmen, of which number two or three hundred at least are engaged
+most of the time in making large scale and full-size drawings of
+architectural detail, in which sculpture plays a large part. Well, we
+need as many modellers, who, either in architects' offices, or in
+stone-cutters' yards and terra-cotta works, shall be putting into
+tangible form the dreams and thoughts of the designer's brain. "As
+many," do I say? Once it is found that architectural sculpture can be
+got promptly and cheaply, and conveniently, it is not 200 modellers
+only that this big community around the big bridge will need; but
+architects will engage three or four or a dozen at a time, as they now
+engage draughtsmen when big jobs come in.
+
+For so the relative success and power today of the arts of expression
+seem to assure us. When we come to look into the subject, we find that
+modern life, which finds its expression freely in prose and in verse,
+and to a slight extent in music, finds some expression also in those
+arts which deal with expression. It is perhaps not a great artistic
+epoch that we are living in, although, if some one were to rise by and
+by, and maintain that it was, I would not be sure that he was wrong.
+It is certainly a kind of novel and in many ways admirable art in the
+way of expression. Great thoughts have found expression almost worthy
+of them in painting, in sculpture, in etching, in wood-engravings, in
+color and in black-and-white; in the single costly work of art and in
+the easily multiplied and cheap productions of the press. It is true
+that in these the thoughts are not always worthy of the expression
+they receive. This is partly because we have nearly lost the desire of
+talking about our religious beliefs in line and color and modelled
+form, and that no other subject of equal universal interest has taken
+the place of the ancient, simple and popular theology.
+
+Patriotism, as shown in scenes of battle and pictures of deeds of
+gallantry and self-sacrifice; poetry, as seen in pictures which
+suggest sweet thoughts of young love and of home affections and of
+childish grace; the love of wild nature, as seen in our school of
+landscape art, now nearly fifty years old and flourishing--none of
+these nor all of them together have quite replaced the priestly
+theology of the Middle Ages as a subject for art, for none are quite
+so universal or appeal quite so readily to the untutored eye and mind.
+And so the uniform is better painted than the soldier very often, and
+the outside of nature than her inward spirit, and the flesh of the
+baby or the golden hair of the girl better than the baby nature or the
+girl nature in each instance. But this is to be stated merely as a
+drawback from praise which would otherwise be too unmeasured and too
+universal. The world contains a vast amount of good art of very recent
+date, and every year adds to the amount. The worst thing that can be
+said of the time is that it should be capable of producing so
+incalculably great an amount of bad art at the same time; that the
+walls of the Paris _Salon_ should be so hung with inferior work every
+year that the important pictures are lost in chaos; and that, while
+this is true of the _Salon_, it is true to an immeasurably greater
+degree of the Royal Academy, of the New York Academy and every other
+exhibition in the world, except where a selected few paintings hang on
+reserved walls.
+
+And as for sculpture, that is to say expressional sculpture, it is
+even more true in this case that the poor works terribly outnumber the
+good ones, though this is less noticed and makes less impression on
+the public. Our English-speaking communities do not even think of
+sculpture as a thing to look to for any refined enjoyment. How far the
+labors of a dozen living men, all Frenchmen but two or three, may have
+sufficed during the past score of years to change the public mind in
+this matter, I am not ready to say; but, surely, it has not been the
+general thought that sculpture is anything more than an expensive and
+perfunctory way of doing one's duty to a great occasion or a great
+man. This, however, is temporary. The good sculpture exists and will
+be recognized. So much for expressional art.
+
+But, as for the arts of decoration, once more, there is not so much to
+be said. As yet the way to subdue technicalities and enthrone design
+has not been discovered. The way to produce beautiful buildings is
+known to none. The way to produce good interior decoration, good
+furniture, good jewelry, beautiful stuffs, has only been seen by here
+and there one, and his lead no one will follow. The fact of his having
+done a fine thing, or of his doing fine things habitually, acts not as
+an attraction to others, but as a warning to them to keep off. Every
+artist strives to do, not as his neighbor has done, and better, but as
+his neighbor has not done. The potteries work no better, because of
+one pottery which turns out beautiful work. The wall-paper makers
+still copy, slavishly from Europe and Japan, fortunately if they do
+not spoil in copying, in spite of the occasional production of a
+wall-paper which an artist has succeeded in. The carpet-weavers
+caricature Oriental designs by taking out of them all movement and
+spirit, while their best customers buy the original rugs. If some rich
+man were to make a museum of modern decorative art, from which he
+would carefully exclude all that which was not in some way fresh and
+intelligent, and if not good, at least promising, a room like this one
+would hold all his trophies, even though he should use his millions to
+ransack Europe and America. It is nobody's fault, least of all is it
+the architect's fault. For see what you expect of an architect. He
+must know about digging deep holes; and about sheath-piling, that he
+may retain the loose soil and keep it from smothering the workmen at
+the bottom of his excavation; and he must know the best machines to
+use for drilling rock and the best method for removing it; he must
+know about all the stones in the country and the best way of making
+concrete; he must be familiar with the thousand new inventions, and
+discriminate carefully and rightly between this range and that, and
+between this form of trap and the other, between a dozen different
+steam-heaters and twenty systems of ventilation; he must be prepared
+to give his owners exactly what they want in the way of windows and
+chimney-corners, of cupboards, shelves in available corners, and
+recesses to put away step-ladders and brooms. But observe that if he
+fails in any one of these things, he will fail in that which his owner
+really cares about; still more, if he fails in the economical
+administration of the funds allowed for the building, will he fail in
+that which the owner most cares about. Less beauty, less success in
+producing a novel, an original, a thoughtful, a purposeful design will
+hurt him but little, but insufficient care as to the circulation of
+hot-water will ruin him.
+
+Now, no man can do all that, and still produce delicate and thoughtful
+designs. No man can be busy laying out work, superintending work,
+explaining to contractors and reasoning with employers, and still be
+producing delicate and thoughtful designs. An extraordinary fellow
+here and there may surprise us by what he does under such
+circumstances, but it will be but little and feeble in comparison with
+what he might do. The community must see its way to paying some to
+eschew plumbing and stick to design, if they mean to have any design.
+This has been done, indeed, in the matter of monumental-glass, and to
+a certain extent in wall-decoration by means of painting; but it must
+be done in what is more vital yet--in architectural sculpture of all
+sorts and all grades; of vegetable, animal and human subjects; in low
+relief, in high relief and in the round; in detached work and
+associated groups--or no architecture for us. I say, then, that as
+things are constituted, the architects are not particularly to blame
+for not having achieved much in the way of decorative art, either on
+the exteriors of their great buildings or in the beauty of their
+interiors. Not much to blame; but yet they are so far to blame as that
+no one else is to do this work if they do not. The architects and the
+artists who are associated with them in the work of supplying us with
+what we call decorative arts of all sorts, form the only class of the
+community to whom the rest of the community can look to for
+advancement in this direction. It is probable, then, that what such an
+associate has to do is two-fold; or rather it has two things to do:
+One is to study the beautiful art of the past, and to study it
+patiently and lovingly, feeling confident of this that the interests
+of the pursuit grow more absorbing every day; and the other is to
+watch the arts of the present, and to keep an open and perspective
+mind with regard to them, feeling sure of this that they will grow
+more complex and interesting every day, and that now and again some
+chance of something good will appear, here and there, giving us great
+opportunities to help, if we are clever enough to perceive them.
+
+The study of the arts of the past is more entrancing every day because
+we are so much better informed, because we are daily better informed
+about them. Archaeology, having gone through a long apprenticeship, is
+doing wonders today; and, although ancient buildings are suffering
+from the accursed restorer, they are also more thoroughly known, more
+rightly judged, more sympathetically analyzed than ever before; while
+monuments other than buildings, those, that is, that are not open to
+the attacks of the restorer, are preserved in practical safety, and
+they also are minutely and honestly studied in a way of which our
+ancestors knew nothing. There is, therefore, more pleasure to be got
+out of the study of ancient art today than ever before, and that
+condition of things is a permanent one. Our children will have even
+better opportunities than we.
+
+And, as for the arts of the present, the arts that are being produced
+around us, they are to be looked at as calmly and temperately; with,
+on the other hand, as little as possible of that provincial which
+makes cathedrals out of carpenters' Gothic churches, and, on the other
+hand, without carping, but with good-natured patience, with a feeling
+that if things are not very good, they can hardly be expected to be
+better; that we, in this country at least, are only half-civilized in
+the ways of cultivation, and we do uncommonly well for such babes as
+we are in literature and art. With patience then, and with impatience
+about nothing but this, that we deny ourselves the study of the great
+works of art of Europe and Asia by thirty per cent and forty per cent
+and sixty per cent duty, and deny to the author all proper
+remuneration for his work by the lack of common honesty. No other
+nation of European blood does these things. It is not a matter of
+politics. No protectionists so ardent in the Bismarck ranks as to
+propose to levy a tax on literature and science. No selfish grabber so
+small, even among peoples whom we consider less honest than we, who
+approves of stealing an author's books under color of the law. While
+we send to Washington Congressmen who keep such laws on the
+statute-books, our community is not "barbarous" so much as savage; for
+such acts are the acts of savages; that is, of men who have no
+reasonable motive for their acts, but act impulsively, like grown-up
+children.
+
+And now, after this evening, let us return from theory and general
+principles, to practice and details, and see whether we can find out
+how it is that Indians combine color, how Japanese use natural form
+decoratively, how Chinamen make porcelain lovely and noble; how Greeks
+of old time have sculptured and Frenchmen have created Gothic
+architecture, and Italians have raised painting to the highest heaven
+of achievement. There is happiness, if study can give it. And for
+those to whom scholarship is less attractive than action and
+production, there is sculpture in small and large, in stone, marble,
+terra-cotta, wax, clay, plaster, bronze, iron, lead, gold and silver;
+there is inlay of all material and styles, from square tiles to minute
+glass tesserae; there is painting with all known vehicles and of all
+sorts; the whole to be devoted to the beautifying of buildings in
+which we have to live and work and rest. There is a plenty to do for
+those who know how to begin.
+
+ * * * * *
+
+TO PROTECT PLATE-GLASS IN BUILDING.--Passing along Dearborn Street,
+recently, I saw a crowd watching closely the placing in position of
+some enormous panes of glass in a handsome new building. The glass was
+the best French plate, and the workmen handled it as carefully as if
+it were worth something more than a week's wages. The task of putting
+it in place was no sooner completed than one of the workmen grabbed a
+pot of whiting and with a big brush daubed a lot of meaningless marks
+on it. I thought it about as silly a thing as a man could do, and with
+the usual reportorial curiosity asked the foreman why he allowed it.
+The answer was a crusher. "Why," said he, "we have to mark them in
+that way or they'd be smashed in no time." My look of amazement
+doubtless prompted him to further explanation, for he said: "You see,
+the workmen around a new building get in the custom of shoving lumber,
+etc., through the open sash before the glass is put in. They would
+continue to do it even after the glass is in if we didn't do something
+to attract their attention. That's the reason you always see new
+windows daubed with glaring white marks. Even if a careless workman
+does start to shove a stick of timber through a costly plate of glass
+he will stop short when his eye catches the danger sign. That white
+mark is just a signal which says, 'Look out; you'll break me if you
+are not careful.'"--_Chicago Journal._
+
+
+
+
+THE STRUCTURE OF SANDSTONE.[1]
+
+AS AFFECTING ARCHITECTURAL AND ENGINEERING WORKS.
+
+
+[Illustration]
+
+The native stones we Liverpool architects have at command are all
+sandstones belonging to the geological division called the Trias, or,
+in older phraseology, the "New Red Sandstone," which lies above the
+coal-measures. The term "New Red" was given to distinguish these rocks
+from the "Old Red," which lies below the Mountain Limestone, the
+lowest division of the carboniferous rocks. It is, perhaps, needless
+to remark that the "New Red" is not always red; sometimes it is
+yellow, at others, like some of the Storeton stone, white. These red
+rocks occupy a large part of Lancashire and Cheshire, and especially
+in the latter county give the characteristic scenery which
+distinguishes it. The escarpment of the Peckforton Hills of which
+Beeston Castle Hill is an outlier, and that at Malpas, farther south,
+gives rise to some very beautiful scenery; and again at Grinshill and
+Hawkstone, in Shropshire, we have a repetition of much the same kind
+of landscape. It will be necessary for my purpose to say briefly that
+these red rocks have been divided into the "Bunter" and "Keuper"; the
+lower division, the Bunter, occupying most of the ground about
+Liverpool; the upper, the Keuper, being more developed on the Cheshire
+side. All these sandstones are not fit for building purposes, and
+those that are so used differ considerably in their durability. It is
+my object in this short Paper to show upon what the perfection or
+imperfection of the various stones for building purposes depends--a
+matter of great moment to an architect or engineer who is desirous
+that his work should last.
+
+Sandstones, or, in masons' language, "free-stones," from the freedom
+with which most of them are worked when freshly taken from the quarry,
+are plastic or sedimentary rocks. That is, they are composed of
+separate particles which have once existed as sand, like that we see
+on our own shores, or in the sand dunes of Hoylake or Crosby.
+Sandstones are usually more or less laminated, and are stronger to
+transverse stress at right angles to their natural bedding than in any
+other direction, a fact recognized in every architect's specification,
+which states "all stones must be laid on their natural bed," a
+direction that unfortunately sometimes begins and ends in the
+specification. The cause of the superior strength is not, however,
+generally understood.
+
+I have devoted some considerable time to an investigation of the
+internal structure of sandstones, which I have communicated from time
+to time to various scientific societies and publications, and will now
+briefly explain it in a manner I judge will be most likely to interest
+architects and engineers. The particles or grains of which the rock is
+built up are of various forms and sizes, from a thoroughly rounded
+grain, almost like small shot, to a broken and jagged structure, and
+to others possessing crystalline faces. These grains, most of them
+possessing a longer axis, have been rolled backwards and forwards by
+the tides or by river-currents. The larger grains naturally lie on
+their sides when freshly deposited, with their axes in the plane of
+bedding; the smaller and more rounded particles naturally tend to
+occupy the interstices between the others, and in this way rude
+divisional planes or laminations are formed. Each layer forms a sort
+of course like coursed-rubble in a wall, and by the necessities of
+deposition a certain rude geometric arrangement results, by which the
+particles of the future rock overlap each other, and thereby gain what
+is known to architects as bond.
+
+But, so far, this is only like "dry walling," the mass wants cementing
+together to make it solid. The cementing process happens in this way
+in our rocks, which are almost purely silicious: Water containing a
+minute quantity of carbonic acid in solution, which most rain-water
+does, especially when it comes into contact with decaying vegetation,
+has the power of dissolving silica to a slight extent. This is proved
+in various ways, and is shown in the fact that all river water
+contains more or less silica in solution.
+
+The circulation of water through the sand deposit of which our rocks
+are made dissolves part of the grains, and the silica taken up is
+redeposited on others. I cannot explain the chemical reaction that
+produces this deposition, but that it takes place in the rock during
+some period of its history is certain. I exhibit a quartzite pebble
+taken from the Triassic sandstone at Stanlow Point, which, as can be
+easily seen, was at one time worn perfectly smooth by attrition and
+long-continued wear, for the quartzite is very hard. Upon this worn
+surface you will see spangles and facets which reflect the light, and
+on closer inspection it will be evident that they are crystals of
+quartz that have been deposited upon the surface of the worn pebble
+after it became finally enclosed in the rock.
+
+A microscopic examination of the granules of the rock itself will show
+that many of them have had crystalline quartz deposited upon their
+surfaces, and in some cases rounded grains have in this way become
+almost perfect crystals.
+
+An examination of the best sandstones for building purposes shows that
+they possess more of these crystalline particles than the inferior
+ones, and a good silicious sandstone shows its good quality by a fresh
+fracture sparkling in the sun. In addition to these crystalline
+deposits of silica I believe it exists also as a cement which binds
+the particles together when in contact.
+
+It certainly is, however, with this secondary silica that the original
+sand has become a building stone, and the particles have become
+interlaced and bound together. Thus, in building parlance, the grains
+are the rubble of the wall, the currents the quarrymen, masons and
+laborers, and the silicious infiltration the mortar.
+
+And now, when I am on the subject, I may point out that this hard and
+compact quartzite pebble was also once loose sand. The only difference
+between the sandstone in which it was imbedded and itself is that in
+the latter case the process of silicious deposit has gone further, so
+that all the interstices between the grains have been absolutely
+filled up with the cement.
+
+It is not possible to see this clearly with the naked eye, but by the
+aid of a slice of the rock prepared for the microscope the granular
+structure of the quartzite is made perfectly plain. So much for the
+mechanical, chemical, and molecular structure of sandstone, all of
+which affect the strength and quality of the stone; but to architects
+there is another element of consequence, namely, the color. The rich
+red of our Triassic sandstones is due to a pellicle of peroxide of
+iron coating each of the grains. That this is merely surface coloring
+is shown by the fact that hydro-chloric acid will discharge the color
+and leave the grains translucent. Unfortunately the most brilliantly
+colored stone is not the most durable, and it so happens that these
+brilliant red sandstones are often composed of exceedingly rounded
+grains. Also some of the very red sandstone has an interfilling of a
+loose argillaceous irony matter detrimental to the stone as a building
+stone. The most durable of the red sandstones are those having a paler
+or grayer hue, like those of Woolton, Everton, and Runcorn. This
+distinction of color was brought freshly to my mind a short time since
+in looking at the church of Llandyrnog, in the Vale of Clwyd, a few
+miles from Ruthin. Some of the dressings, quoins for instance, were of
+a very brilliant-colored red sandstone, and others of a pale gray or
+purple red. It struck me that these latter must be of Runcorn stone,
+which I was afterwards informed was the case. The very red stone was
+the natural stone of the Vale, originally used for dressings, which
+were replaced, on the restorations being made, with Runcorn stone. The
+original stone was aesthetically the best, but the introduced stone the
+best structurally. The old stone of Chester Cathedral was a very red
+Bunter sandstone, which decayed badly. It has been replaced in the
+restorations by Runcorn stone, which belongs to the Keuper division,
+which has caused the Geological Surveyors to say that the Keuper is a
+better building stone than the Bunter. In this case it is; but, on the
+other hand, the Bunter sandstones, or Pebble-beds, as they are called,
+near Liverpool, are often better than the Runcorn Keuper. The Runcorn
+building stone lies between two beds of very red loose rock, showing
+that it is not its geological position, but its _structure_, that
+makes it a good durable stone.
+
+It is a remarkable fact that most of the pebbles included in the red
+rocks are quartzites, or indurated silicious sandstones; and, as
+showing that their solidity and hardness are due only to a further
+continuance of the deposit of silica in the interstices, it has been
+proved that the purple quartzites are purple only by reason of the
+original coloration of the grains which have been enclosed between the
+original grains and the secondary silica. Yellow sandstone is colored
+also by iron, and I have frequently seen the red sandstone shading of
+to the yellow without any division whatever. The various shades and
+tints of sandstone are necessarily due to the coloration of the
+individual grains.
+
+Most of you will, no doubt, have observed the sort of marbling or
+grain upon the stone of our old buildings, such as the Town-Hall,
+which I believe was obtained from quarries occupying the site of the
+St. James's Cemetery. This is due to what is called current bedding;
+that is to say, the grains have been arranged along oblique lines and
+curves instead of in parallel laminae. This stone, which is
+geologically equivalent to the Storeton Stone, and of the same nature,
+has stood very well. Some of the Storeton Stone, if free from clay
+galls, although very soft when quarried, becomes hardened by exposure,
+and will stand the weather much better than a harder and more
+pretentious material.
+
+The stone of Compton House is in a very good condition, although the
+mason told me such was the hurry in rebuilding that they could not
+stop to select the stone, and also that it is placed in all sorts of
+positions with respect to its quarry bed. Perhaps the circumstances
+that the stone is not in parallel laminae may have something to do with
+its durability, notwithstanding this latter fact.
+
+It would take a long Paper, and several evenings, to exhaust the
+subject even of our local stones. I may mention, however, that the
+quarries of Grinshill, between Shrewsbury and Hawkstone, yield a
+beautiful white sandstone, of a finer grain than Storeton, but of a
+similar quality.
+
+Most of the public buildings of Shrewsbury are built of it, and I am
+informed that it was to some extent used in the Exchange buildings.
+The rocky substratum of a district can be well seen in its ancient
+buildings, for in old times carriage was so important an item that the
+old builders could not go far for their stone; hence we see that the
+old churches of part of Lancashire and most of Cheshire, and a large
+portion of Shropshire, are of red sandstone. Some of it has stood very
+well, while some has decayed into shapeless masses. There is a
+tendency to exfoliate parallel to the exposed or worked surface, in
+all stones, irrespective of the way of the bed, but more so where the
+stone is set up on edge, or at right angles, to its quarry bed. It is
+interesting and peculiar to see in some of the old buildings erected
+with pebbly sandstone how the white quartz pebbles stand out from the
+surface like _warts_. This is due to the greater indestructibility of
+the quartz pebbles, and the weathering away, or denudation, of the
+sandstone face.
+
+Before leaving the subject of local sandstones it will be necessary to
+refer to one quality they have which is of excellent utility as
+regards the storage of water, but which is decidedly a disadvantage in
+building stone--that is, their porosity. I have proved by actual
+experiment that a cubic foot of Runcorn Stone will take up three
+quarts of water by capillarity, and that it is possible to make a
+syphon of solid sandstone which will empty a vessel of water into
+another vessel by capillarity alone.[2] This shows the absolute
+necessity of damp-proof courses, not only in the main walls of
+buildings of stone, but even in fence walls, for the continual sucking
+up of moisture from the earth, and its evaporation at the surface of
+the stone, make it rapidly decay. I think I could show you this fact
+in almost any stone building in Liverpool or elsewhere where the stone
+is in direct connection with the earth. It also shows the necessity of
+taking care that no stones go through the wall to the interior
+surface, and of precautions for backing up stone walls with less
+porous materials, or the introduction of a cavity. If you could
+suppose such a sandstone wall 40 feet long, 20 feet high, and 1 foot 6
+inches thick fully saturated, it would hold almost a ton of water! Of
+course, it never would be fully saturated, because of the evaporation
+from the surfaces, but with a southwest aspect, and very wet weather,
+it might become half saturated. But what does evaporation mean? It
+means the loss of so much heat and the burning of so much coal to
+supply its place. From this it will be seen that a pure sandstone wall
+is a thing to be avoided.
+
+The subject is so wide a one that I have felt compelled to restrict my
+remarks to local sandstones, but the general principles of structure
+apply to all sandstones alike.
+
+It is difficult by written description to tell you how to select a
+good stone, but one essential is that there shall be a good deposition
+of secondary quartz, as shown by the crystalline sparkling on the
+freshly fractured surface.
+
+It must also be free from very decided laminations, for these
+constitute planes of weakness and are often indications of the
+deposition of varying materials, or the same material in various
+grades of fineness. It must also not be full of argillaceous and
+iron-oxide infillings. It should possess a homogeneous texture. The
+best way to study building stones is to study them in old buildings,
+for nature has then dissected their weaknesses.
+
+FOOTNOTES:
+
+[1] Read before the Liverpool Architectural Society, on the 18th
+November, 1889, by Mr. T. Mellard Reade, F.S.G.S. _Fellow_,
+President of the Society, and printed in the _R.I.B.A. Journal_.
+
+[2] This experiment was made before the audience.--T. M. R.
+
+ * * * * *
+
+WARFARE ON OAK TREES.--"The world seems to have waged a special
+warfare upon oak trees," says a St. Louis man. "Before iron ships were
+built, and that was only twelve years ago, oak was the only thing
+used. When this drain ceased oak came into demand for furniture, and
+it is almost as expensive now as black walnut. No one feels the
+growing scarcity of oak like the tanner, and the substitution of all
+sorts of chemical agencies leads up to the inquiry as to whether other
+vegetable products cannot be found to fill the place of oak bark. The
+wattle, a tree of Australian growth, has been found to contain from
+twenty-six to thirty per cent of tannic acid. Experiments have been
+made on the Pacific Slope, where the wattle readily grows, and in a
+bath of liquor, acid was made from it in forty-seven days, whereas in
+liquor made from Santa Cruz oak, the best to be found in all the
+Pacific States, the time required is from seventy-five to eighty days.
+The wattle will readily grow on the treeless plains of Texas, New
+Mexico and Arizona, the bark of which ought to yield five dollars per
+acre counting the fuel as nothing."--_Invention._
+
+
+
+
+THE BARYE EXHIBITION.
+
+
+[Illustration]
+
+Entering the handsome galleries of the American Art Association, one
+finds the lower floor given up to the Barye bronzes, while the upper
+rooms are devoted to the "Angelus" and the paintings by Millet and
+other contemporaries of the great French sculptor. Passing on the left
+of the entrance the superb, large bronze of "Theseus battling with the
+Centaur," one is fronted by the great cast of the "Lion and Serpent,"
+which from the centre of the gallery dominates the surrounding
+exhibits. Both of these are the property of the Metropolitan Museum of
+Art, the cast having lately been presented to that institution by the
+French government. Upon the right hangs Bonnat's vigorous portrait of
+Barye, on the left wall one sees the water-color of the "Tiger Hunt,"
+and all around are cases, groups and isolated pieces of the bronzes.
+
+Here are over 450 works in wax, plaster and bronze, of which Mr. W. T.
+Walters contributes one-fourth, while the Corcoran Gallery sends its
+entire collection, numbering nearly a hundred, Mr. Cyrus J. Lawrence
+loans sixty-two pieces, Mr. James F. Sutton fifty-two and Mr. Samuel
+P. Avery thirty. Other contributors, who have followed their generous
+example, are Messrs. R. Austin Robertson, Theodore K. Gibbs, Robert
+and Richard M. Hoe, James S. Inglis, Richard M. Hunt and Albert
+Spencer. Of many of the subjects there are several copies, and
+amateurs can study proofs and patinas to their heart's content. From
+Mr. Walters's famed collection are the four unique groups modelled for
+the table of the Duke of Orleans, chief of which is the "Tiger Hunt,"
+where two of the huge cats attack an elephant from whose back three
+Indians defend themselves with courage. The giant pachyderm writhes
+his serpent-like trunk in air and plunges forward open-mouthed,
+trumpeting with pain from the keen claws of the tigers hanging on his
+flanks. The Hunts of the Bull, the Bear and the Elk are worthy
+companions of this magnificent bronze, offering wonderfully fine
+examples of condensed composition in the entwined bodies of men and
+beasts, and filling the eye with the grand sweeps of their circling
+forms. The same liberal patron of art also lends his unique piece of a
+walking lion, in silver, made in 1865 for a racing prize, and a
+plaster-proof of the little medallion of "Milo of Crotona attacked by
+a Lion," executed by Barye in 1819 for the Prix de Rome competition at
+the Ecole des Beaux-Arts. This little gem, worthy of the antique, did
+not secure the prize, however, which went to a now-forgotten sculptor
+named Vatinelle. It had often been so before, it has often been so
+since down to our day (Comerre was preferred to Bastien Lepage in
+1875) and doubtless it will be so for who knows how many years to
+come.
+
+All the phases of that terrific struggle for existence where beast
+hunts beast, which have been depicted by Barye's genius, are here.
+Here is the "Tiger devouring a Crocodile" (with which Barye made his
+first appearance at the _Salon_, in 1831); the "Jaguar devouring a
+Hare"; the "Lion devouring a Doe," the "Crocodile devouring an
+Antelope," the "Python swallowing a Doe," the "Tiger devouring a
+Gazelle," the "Bear on a tree devouring an Owl" and the "Lion
+devouring a Boar." What a series of banquets on blood and warm, almost
+living flesh is here presented! How cruel these creatures are to each
+other, is the thought that first comes to us, but a second, reminds
+that it is but their instinct and a necessity of natural law, and
+repulsion is lost in astonishment and delight at the marvellous
+fidelity with which the sculptor has rendered these links in the great
+chain of animal life. Their (as we call it) savage eagerness, their
+almost blind rage for their appointed food, the tenacity with which
+they clutch and the ravening _anxiety_ (caused by the dread of losing
+their prey) with which they tear the flesh of their victims, is
+portrayed to the life. We speak of a death-grip, but here is a death
+and life grip--death to the victim whose palpitating body furnishes
+life to its destroyer. It is the hot-cold-bloodedness of nature, the
+disregard for suffering of the tornado, the earthquake and the
+avalanche shown in little in the fangs and claws of these wild
+creatures. Then there are the battles of the more evenly-matched
+animals--not always as a result of the need of sustenance--such are
+the tiger transfixed by the elephant; the python's folds crushing the
+crocodile; and the bear dragging the bull to earth, or itself, in
+turn, overthrown by mastiffs. Then comes those groups into which man
+enters--the African horseman surprised by a great serpent whose
+formidable folds already enclose his struggling body; the Arabs
+killing a lion; and the "Theseus overcoming the Minotaur," wherein the
+calmly irresistible hero is about to bury his keen, short sword in the
+bull-neck of the gross monster. The success with which Barye has
+combined the human and bestial characteristics of the minotaur is most
+remarkable and a similar triumph is won in the hippogriff--the winged
+horse, with forefeet of claws and beaked nose, which leaps so swiftly
+over the coiled-shape of the dolphin-serpent, which serves for his
+pedestal--bearing upon his back the charming, nude figure of Angelica
+held in the mail-clad arms of Ariosto's hero. To this category _seems_
+to belong the "Ape riding a Gnu," the forms, however, being true to
+nature though appearing fantastic when placed in juxtaposition.
+
+The horse as we know him, and carrying more familiar burdens, is shown
+in numerous equestrian statuettes, the best of which is the slender,
+nervous figure of Bonaparte as First Consul, mounted on a
+proudly-stepping Arab. There is another one of Napoleon, showing him
+at a later period of his life, and the other equestrian portraits
+include one of the Duke of Orleans, who looks every inch a gentleman;
+one of Gaston de Foix, the hero of Ravenna; and one of Charles VII.
+Then there is a spirited statuette of a Tartar warrior in chain armor
+sharply pulling back his steed, and a graceful figure of a lady
+wearing the riding-dress of 1830. A painful contrast is presented by
+the doomed horse unwillingly carrying a lion whose dreadful grip his
+frantic rearing cannot loosen. In addition there are many studies of
+horses, various in breed and attitude, and the small wax model of a
+young man mastering a horse which though but a rough "first sketch"
+has all the "go and fire" possible. It would have been of interest if
+some illustration of Barye's equestrian monument of Napoleon at
+Ajaccio could have been shown, and this reminds me that except a
+photograph of the Chateau d'Eau at Marseilles, showing the four groups
+of animals designed by him (which Mr. Cyrus J. Lawrence was thoughtful
+enough to send), and the two reclining river-gods from the Louvre
+(sent by Mr. Walters), there is nothing which gives any idea of
+Barye's public work. Not even photographs of the War, Order, Glory and
+Peace groups of the Louvre, which could have easily been taken from
+the copies given by Mr. Walters to Baltimore, now on Mount Vernon
+Place, are present. But, in face of the admirable collection here
+gathered together, this may savor of ingratitude, and I will return to
+the consideration of the remaining sculptures.
+
+Among them are some masterly pieces of decoration, the most important
+being the superb candelabra made for the Duc de Montpensier. These
+have seated at their base nude figures of the three chief goddesses of
+classic mythology, whose noble proportions and purity of outline prove
+the versatility and completeness of the sculptor's art. Juno is
+accompanied by her peacock and bears the rod of power; Minerva lifts a
+sword, and Venus holds the golden apple. The candelabra are further
+enriched with masks and chimeras, and bear at their top a charming
+circular group of the three graces, small undraped figures, with arms
+entwined and faces turned toward each other. The general design and
+exquisite detail of this work is worthy of the Renaissance. There are
+some more candlesticks and other works of decorative art, all of which
+bear the marks of a master-hand.
+
+The humorous side of things is presented by some of the groups: in the
+ungainly figure of the elephant of Senegal running; in the bear lying
+on his back in a trough and eating with great gusto some sweet morsel
+which he holds between his paws; and in the meditative stork standing
+on the back of a turtle. Some of the animals are shown as sleeping or
+reclining, and there is a cat sitting, a goat feeding, a deer
+scratching its side and a pheasant walking, among others, but the
+tragic note is struck in most of them. Probably the best works are to
+be found among those pieces representing members of the feline race,
+which were always the subject of Barye's most thorough study. The
+sculptures of horses are also very numerous, and it strikes one at
+first as curious that, after all the rebuffs he received from the
+academic faction, who recognized no animals but the horse and lion as
+worthy of representation in sculpture, he should have modelled so many
+of these very creatures. But, after all, Barye's lions and horses
+belong to an entirely different race from those which the
+tradition-bound old fogies were pleased with. The collection embraces
+many admirable bronzes of birds: an eagle holding a dead heron; an owl
+with a rat; a paroquet on a tree, and a strikingly fine composition of
+a hawk killing a heron; and there are some beautiful studies of dogs,
+especially a large seated greyhound, belonging to Mr. Walters. There
+are rabbits, badgers, wolves and camels, but I remember no cows or
+pigs, and only one group of sheep. Wild life, much more than domestic,
+touched the sympathies of Barye.
+
+Mr. Walters loans twenty-three of Barye's powerful water-colors of
+animals and a fine oil, of unusual size for this artist, of a tiger.
+One of the most striking of the water-colors shows a great snake
+swallowing an antelope, whose head is partly engulfed, and it is
+almost exactly the same as one of the bronzes from the Walters
+collection. Other gentlemen have contributed water-colors and
+oil-paintings by Barye, among them being several landscapes at
+Fontainebleau, and there are various etchings and prints after his
+works and some of his lithographs, pencil-sketches and autographs,
+with a copy of the only etching--a stag fighting a cougar--which,
+according to so good an authority as Mr. Avery, he ever made. These
+remarkable water-colors alone would suffice to show the genius of
+Barye, for they are full of the same qualities of truth and
+originality of expression which we see in his bronzes. Their color is
+exceedingly fine, and their topics are generally tigers, lions,
+elephants and serpents. It is a source of wonder how Barye, who never
+visited the East, could have so well depicted the tropical landscapes
+in which he has placed these tawny tigers and majestic lions. The
+drawings, like the sculptures, impress us with their air of absolute
+veracity, and, even in their most dramatic moments, suggest a
+reticence behind. Barye does not exhaust himself or his subject, yet
+he seems to have said the last word in this direction of art, and I
+cannot imagine that his profound and searching genius will ever be
+surpassed.
+
+The managers of the galleries announce the exhibition of a hundred
+"masterpieces" by the contemporaries and friends of Barye, but I do
+not think that the visitor will find so large a number which can
+rightly be thus classed. To me it appears that something less than
+one-half are works of the first order, but among the remainder are
+many good things worthy of attention. Here again the treasures of Mr.
+Walters's collection are drawn upon and he sends some twenty-five
+pictures, prominent among which is the great "Martyrdom of St.
+Sebastian," by Corot; the "Evening Star," by the same master; Troyon's
+"Cattle Drinking"; Diaz's "Storm" and "Autumn Scene in the Forest of
+Fontainebleau"; Rousseau's "Le Givre"; Decamps's "Suicide"; Daubigny's
+large "Sunset on the Coast of France"; Delacroix's "Christ on the
+Cross"; and Millet's "Breaking Flax." One of the finest Millets I have
+ever seen is here, lent by Mr. Walters. This is the "Sheepfold at
+Night," which with several others of Mr. Walters's paintings here
+shown, was in the exhibition of "One Hundred Masterpieces" held at
+Paris in 1883. In its foreground a line of sheep pass by toward the
+gate of the fold through which some have already entered under the
+guidance of the shepherd and his dog, who stand near. The horizon is
+low, and just above it swings a swollen moon, shaped like a cup, from
+which floods of pale light fill the scene with color. If this were Mr.
+Walters's only contribution it would be sufficient to place us under a
+heavy obligation to him. The "St. Sebastian" is a large canvas,
+measuring four feet wide by eight feet high, which was first shown at
+the _Salon_ of 1853, and afterwards twice received important changes
+at the artist's hands. It shows an opening in a great wood, with the
+saint reclining on the ground tended by two holy women, while above
+appear some angels who bear the martyr's palm and crown. Rousseau's
+"Le Givre" is well described by Sensier, who says in his "_Souvenirs
+sur Th. Rousseau_," it represents "the hills of Valmondois as seen a
+mile away across the Oise, along the des Forgets road. The composition
+could not be more simple. Little hillocks heaped in the foreground are
+covered with half-melted snow, and the sun, red in the midst of a
+leaden sky, is seen dying and threatening through the clouds." The
+"Suicide," of Decamps, shows the body of a young artist stretched
+lifeless on his pallet in a gloomy room, and is painted with
+extraordinary force. The "Sunset," by Daubigny, describes a scene on
+the French coast with some cows near a pool separated from the sea
+only by a few yards. The foreground is rich in sombre greens and
+browns, the ocean a glorious blue and the sky tinged with the roses of
+sunset.
+
+A superb specimen of the lately dead veteran, Jules Dupre, "The Old
+Oak," is lent by Mr. John G. Johnson, who contributes several other
+pictures, among them a fine "Going to the Fair," by Troyon, in which
+is seen a drove of cattle and sheep, with a woman on horseback behind
+talking to a man. Another still finer Troyon, the "Drove of Cattle and
+Sheep," which brought $26,000 at the Spencer sale, is lent by Mr.
+Cornelius Vanderbilt. It will be recalled as showing a flock of sheep
+coming along a road toward the spectator, while behind are two cows,
+one with head uplifted to avoid the threatening stick of the drover--a
+dumb but eloquent protest against man's cruelty. Corot's lovely "Lake
+Nemi," the property of Mr. Thomas Newcombe, is here, while Mr. Jay
+Gould sends his "Evening"; Mr. William F. Slater, of Norwich, Conn.,
+the "Fauns and Nymphs," and Mr. Charles A. Dana his beautiful "Dance
+of Loves." To the same gentleman the public is indebted for an
+opportunity to admire Millet's admirable "Turkey-keeper." Mr. D. C.
+Lyall has Delacroix's splendid page of romance, "The Abduction of
+Rebecca," and among the numerous paintings which come from Mr. George
+I. Seney's gallery, is the same artist's well-known "Convulsionaries,"
+a crowd of self-tortured fanatics wildly rushing through the
+white-walled streets of Tangiers. There are several other works by
+Delacroix, including examples of his vivid renditions of lions and
+tigers, and Mr. Slater has here his "Christopher Columbus," Mr. Potter
+Palmer, of Chicago, lending the "Giaour and Pacha." Gericault is
+represented by but one picture, a noble couchant lion, but in addition
+to the "Suicide," there are several other Decamps, notably the
+magnificently colored "Turkish Butcher's Shop," which, with a
+splendid Rousseau, the "Forest of Fontainebleau," comes from the
+collection of Mr. Henry Graves. The gorgeous blues and crimsons of
+Diaz's "Coronation of Love," which Mr. Brayton Ives is fortunate
+enough to own, glow in a corner of one of the galleries--a bouquet of
+living color. It was pleasant to meet again a familiar picture in
+Millet's "Waiting," which the writer recalls often seeing at the
+Boston Art Museum when it belonged to Mr. Henry Sayles. It is now the
+property of Mr. Seney, and will be at once remembered by any who have
+ever seen its homely but touching figures of the old mother looking
+down the road for the coming of her absent son, and the blind father
+stumbling hastily over the steps to the door. I renewed my
+acquaintance with the inimitable cat which arches its back, elevates
+its tail and miaows on the bench outside, its ginger-colored coat
+relieved against the cool blue-grays of the stone wall. It is the
+apocryphal story of Tobit and Anna, with the waiting parents made into
+peasants of Millet's own country, and when it was exhibited at the
+_Salon_ of 1861, the public, of course, passed it by to gaze at the
+"Phryne" of Gerome. Millet has doubtless painted better pictures, but
+for direct simple pathos it would be hard to surpass this.
+
+Boston, through Mr. Quincy Shaw and other gentlemen, sends to the
+exhibition some of the best paintings shown. Mr. Shaw exhibits his
+"Potato-planters," to me the most beautiful in its rosy tones of any
+example of the artist here; of the same size, a fine "End of the
+Village of Greville," walled with graystone, its little street
+monopolized by geese and ducks, and the sea-gulls flying above; and
+the "Buckwheat Threshers," with two smaller canvases. Mr. F. L. Ames,
+lends two Millets, a beautiful Rousseau, "The Valley of Tiffauge,"
+Decamps's splendid picture of an African about to sling a stone at a
+vulture sitting on some ruins, and the superbly painted dogs of
+Troyon's "Gardechasse." Dr. H. C. Angell's fine Jules Dupre,
+"Symphony," is also here.
+
+The Millets number about a third of the paintings and among them is an
+interesting variation of the "Sower," narrower in shape than the
+others and with a steeper hillside. It would have been a delight to
+have seen Mr. Shaw's "Sower" temporarily lifted from its place in the
+modest house which conceals so many treasures, and brought here,
+especially as it was not possible to borrow the replica belonging to
+the estate of the late W. H. Vanderbilt, but such good fortune was not
+in store for us. A beautiful little nude by Millet, "After the Bath,"
+has been sent by Mr. A. C. Clark. I think it must be the same one
+which was at the Bartholdi Pedestal Fund Exhibition some years ago,
+when it belonged to Mr. Erwin Davis. Messrs. Boussod, Valadon & Co.,
+have lent an important and beautiful "November" by Millet, showing a
+sloping field with a harrow lying on the foreground and a man shooting
+at a flock of birds from behind a tree at the top of the hill.
+
+The "Angelus," draped with crimson, is given the entire end of the
+long upper gallery and, I think, proves a disappointment to most, if
+not all. One chief reason for this is its small size,--it is but about
+21 x 25 inches--and then it is certainly not to be compared for
+painting with half a dozen other Millets which are here. Its sentiment
+is lasting, however, but it is not new to us, on the contrary it is a
+household word now, and the painting gives but little more than does
+Waltner's etching. Mr. Walters loans the crayon sketch for it and one
+of "The Sower" and the "Sheepfold by Moonlight," with others, and
+there are some very interesting pastels and water-colors by Millet,
+Rousseau and Delacroix.
+
+Altogether the exhibition is an extraordinarily good one, unapproached
+as to the Baryes and not easily surpassable as to the paintings of the
+Fontainebleau school, and any lover of art would find himself amply
+repaid by it for a journey to New York.
+
+
+
+
+[Illustration: THE ILLUSTRATIONS]
+
+[_Contributors are requested to send with their drawings full and
+adequate descriptions of the buildings, including a statement of
+cost._]
+
+
+"THE LION AND THE SERPENT." M. A. L. BARYE, SCULPTOR.
+
+[Photogravure issued only with the International Edition.]
+
+See article elsewhere in this issue.
+
+
+AUDITORIUM OF THE PALACE OF THE TROCADERO, PARIS, FRANCE. MM. DAVIOUD
+& BORDAIS, ARCHITECTS.
+
+[Gelatine Plate issued only with the International Edition.]
+
+
+AN INTERIOR IN THE CHATEAU DE JOSSELIN, MORBIHAN, FRANCE.
+
+[Gelatine Plate issued only with the International Edition.]
+
+
+TORRE DEL VINO, ALHAMBRA, GRANADA, SPAIN.
+
+[Grano-chrome issued only with the International Edition.]
+
+
+RUINS OF THE CHAPEL OF CHARLES V, YUSTE, SPAIN.
+
+[Grano-chrome issued only with the International Edition.]
+
+
+COOMBE WARREN, KINGSTON, ENGLAND.--GARDEN FRONT. THE LATE MR. GEORGE
+DEVEY, ARCHITECT.
+
+[Issued only with the International Edition.]
+
+
+COOMBE WARREN, KINGSTON, ENGLAND.--ENTRANCE FRONT. THE LATE MR. GEORGE
+DEVEY, ARCHITECT.
+
+[Issued only with the International Edition.]
+
+
+A GENTLEMAN'S COUNTRY HOUSE. MR. HORACE R. APPELBEE, ARCHITECT.
+
+[Issued only with the International Edition.]
+
+This design is founded upon the Francis I style of architecture,
+though it by no means slavishly follows it. It was required to obtain
+a house suited in all respects to modern requirements, including such
+things as sash-windows, and in places plate-glass. These hardly
+harmonize with the ordinary character of English country-houses of the
+Elizabethan and Queen Anne types, with their many mullioned windows
+and lead-glazed casements, nor is the other extreme of heavy Classic
+with ponderous detail and a portico two stories high at all desirable.
+The style of Francis I offers a mean between these, giving emphasis to
+the principal block by a certain amount of symmetrical planning,
+together with picturesqueness, with rich and refined detail, which a
+gentleman's country-house certainly requires. The exterior would be of
+long and thin red bricks, with stone cornices and other dressings, and
+roofed with green slates. The interior has oak-work and enriched
+plaster ceilings to the principal rooms, with the exception of the
+hall, where the ceiling would be of oak. The hall and the staircase
+would have some stained-glass in the windows. The original drawing was
+exhibited in this year's Academy.
+
+
+WROUGHT-IRON GATES, DUKE STREET, CHELMSFORD, ENGLAND.
+
+[Issued only with the International Edition.]
+
+
+HISTORICAL FIGURES FROM LORD MAYOR'S PROCESSION, 1889. DESIGNED BY MR.
+JOHN JELLICOE.
+
+[Issued only with the International Edition.]
+
+These figure sketches embrace five typical examples from the late Lord
+Mayor's show, in which Mediaeval, Tudor and Stuart costumes were
+(thanks to the research and artistic knowledge of Hon. Lewis
+Wingfield) so pleasantly associated. We have selected five, both on
+account of their diversity and also because of their being
+representative costumes of different eras in English history. The
+dresses, for magnificence and accuracy of detail, have rarely been
+equalled.
+
+
+HOUSE OF MRS. CHARLES BLAKE, BEACON ST., BOSTON, MASS. MESSRS. STURGIS
+& CABOT, ARCHITECTS, BOSTON, MASS.
+
+[Issued only with the Imperial and International Editions.]
+
+
+COMPETITIVE DESIGN FOR THE CATHEDRAL OF ST. JOHN THE DIVINE, NEW YORK,
+N.Y. MR. GLENN BROWN, ARCHITECT, WASHINGTON, D.C.
+
+Although the selection of material is a matter that can be well
+dispensed with until the general design has been determined, the
+architect suggests as in harmony with the treatment, Westerly, R.I.
+granite for the body of the cathedral, with trimmings of carved
+capitals, bases, columns, belts, arches and other ornamental stonework
+of a Georgia marble. The granite is cream color, with a suspicion of
+red, and the marble is of the same shade but a trifle darker and more
+positive. Both from chemical and physical tests they are apparently of
+equal strength and durability. The colors suggested would not give the
+building the cold appearance of white marble, or the somewhat sombre
+appearance produced by gray granite.
+
+The stones are to be laid in square blocks, regular courses and
+rock-face in the body of the building, with square and sharp corners.
+The columns, lintels, sills, belts, finials and mouldings are to be
+close hammered work, with carving where indicated on the drawings.
+
+The different tower roofs are to be fine-hammered or rubbed granite.
+The distinction between the tower roofs and the body of the building
+is not brought out clearly in the different drawings, as this would
+require shading all the granite stonework except the tower roofs, and
+shading is prohibited by the instructions.
+
+The interior of the church is designed to be finished in marbles of
+harmonious colors, with carved and other decorated work, as shown in
+the section. The surface of the floor is to be laid in mosaic tile,
+the presumption being that fixed pews will not be used in the
+cathedral. Ample storage can be obtained for portable seats in the
+cellar.
+
+The floors are laid on terra-cotta arches, built on iron beams, and
+the beams are protected by terra-cotta casings.
+
+The roof of the building is to be covered with slate [preferably red],
+laid on terra-cotta and supported by iron trusses and beams; the
+iron-work to be protected by a fireproof covering. The tower roofs
+contemplate granite, lapped and jointed so as to be weatherproof, laid
+on iron beams and supported by iron trusses. If a cheaper covering is
+desired, slate or tile can be used without affecting the design.
+
+The ceiling is a barrel-vault with large and small arched ribs
+pierced in each bay by the small vaults in which the clerestory
+windows open. It may be treated in one of three ways: first, finished
+in marble; second, marble ribs, the larger surfaces being terra-cotta
+blocks covered with mosaic tile; third, the larger surfaces frescoed
+on plaster. The ceiling of the lantern in the centre of the cathedral
+will be supported by arch trusses, and show metallic ribs on the
+interior, glazed with cathedral glass.
+
+The screens between the choir and aisles and between the aisle and
+vestries and chapels are intended to be of wrought-iron, bronze or
+brass, or a combination. They should be arranged so as to slide down
+into the cellar and leave the entire building open and unobstructed
+whenever it might be thought desirable.
+
+The outside doors are to be bronze, with figures on them in low
+relief.
+
+The size of columns and piers, and the weights imposed upon them, the
+thrusts of arches and trusses, their proper abutments and ties and
+other constructional problems have been calculated with a sufficient
+degree of accuracy to determine the feasibility of the execution of
+the design according to the drawings.
+
+In the lantern where the frescoing is contemplated the wall will be
+faced with porous brick, on which the proper fresco plaster can be
+spread.
+
+The plan is arranged to facilitate the ingress and egress of large
+assemblages of people, five doorways being provided in the nave
+entrance and two in each of the transepts. The galleries over the nave
+and transept vestibules and the triforium have stairways with
+entrances on the side porches. Including the clergy entrances, fifteen
+outside doors are planned. The vestibules and porches connect with
+each other so that worshippers can pass from one to the other under
+cover.
+
+The arrangement adopted for the central tower allows a central
+auditorium about one hundred feet in diameter, unobstructed by columns
+or piers, with the nave transepts and choir opening into it. The
+aisles are not decreased by this central enlargement, as they deflect
+through the four abutting towers.
+
+The different vestry-rooms, library or sacristy and the treasury are
+grouped conveniently to the choir, with separate entrances for the
+church officials. The meeting-room for the clergy or chapter and the
+chapel have entrances independent of the church, or by lowering the
+screen they can be thrown open into the cathedral. Toilet-rooms,
+custodian's and a committee-room are located on the transept
+vestibules, as these entrances would most probably be constantly open.
+
+Elevators are placed in two of the supplemental towers, and stairways
+in the ones adjoining the choir, landing visitors on the triforium
+gallery, which encircles the building, and in the two galleries which
+encircle the central lantern. From the lantern galleries visitors can
+obtain fine interior views of the building, and comprehend the crucial
+form of the plan at a glance.
+
+TABULATIONS OF APPROXIMATE DIMENSIONS.
+
+ Length. Breadth. Height. Square feet.
+Ground-floor including
+ walls height to the
+ ridge of roof 400 156 to 230 148 69,000
+
+Lantern or central tower
+ exterior 106 106 400 11,236
+
+Nave interior 125 50 100 6,250
+
+Transepts interior 30 50 100 3,000 for
+ the two
+
+Choir interior 95 50 100 4,750
+
+Central tower interior 88 88 200
+
+Aisles interior 16 40
+
+Chapel and Chapter 52 26
+
+Square feet of auditorium exclusive of aisles, columns
+ and space between columns, triforium and galleries 20,486
+
+Auditorium including everything except choir 48,106
+
+
+ABBEY OF ABERBROTHWICK: GALLERY OVER ENTRANCE.
+
+ABBEY OF ABERBROTHWICK: THE WESTERN DOORWAY.
+
+The traveller by sea, along the east coast of Scotland, is liable to
+be reminded with startling emphasis of the demolition to which the
+ecclesiastical architecture of the country has been subjected. Leaving
+behind him on his northward course the fragments of the metropolitan
+Cathedral of St. Andrews, he crosses a wide arm of the sea, and when
+he again approaches the shore, the objects most prominent against the
+sky are the still more disastrously shattered remnants of the great
+Abbey of Aberbrothwick. One lofty fragment presents in its centre a
+circle, doubtless once filled with richly moulded mullions and
+stained-glass, but through which the blue sky is now visible. This
+vacant circle is the only symmetrical form in these lofty masses that
+at a distance strikes the eye--all else is shapeless and fragmentary.
+Around these huge unsightly vestiges of ancient magnificence the types
+of modern comfort and commercial wealth cluster thickly, in the shape
+of a small but busy manufacturing town, with its mills, tall chimneys
+and rows of substantial houses.
+
+The ruins, which are interesting only in their details, scarcely
+present a more inviting general aspect as they are approached. Nearing
+them from the High Street of the burgh, the first prominent object is
+a grim, strong, square tower, the sole remaining complete edifice of
+the great establishment, now used as a butcher's shop. It was not
+perhaps without design that this formidable building was so placed as
+to frown over the dwellings of the industrious burghers--it was the
+prison of the regality of the abbey--the place of punishment or
+detention through which a judicial power, scarcely inferior to that of
+the royal courts, was enforced by this potent brotherhood; and thus it
+served to remind the world without, that the coercive power of the
+abbot and his chapter was scarcely inferior to their spiritual dignity
+and their temporal magnificence. Passing onward, the whole scene is
+found to be a chaos of ruin. Fragments of the church, with those of
+the cloisters and other monastic edifices, rise in apparently
+inseparable confusion from the grassy ground; but, with a little
+observation, the cruciform outline of the church can be traced, and
+then its disjointed masses reduce themselves into connected details.
+The dark-red stone of which the building was constructed is friable,
+and peculiarly apt to crumble under the moist atmosphere and dreary
+winds of the northeast coast. The mouldings and tracery are thus
+wofully obliterated, and the facings are so much decayed as to leave
+the original surface distinguishable only here and there. At
+comparatively late periods large masses of the ruins have fallen down;
+and Pennant mentions such an event as having taken place just before
+he visited the spot. This palpable progress towards the complete
+extinction of the relics of one of the finest Gothic buildings in
+Scotland, certainly rendered it not only justifiable but highly
+praiseworthy that the Exchequer should make some effort for preserving
+so much of the pile as was preservable. Restoration was not to be
+expected--the preservation of the existing fragments was all that
+could be reasonably looked for. It must be confessed, however, that
+the operations, by means of which this service was accomplished, have
+given no picturesque aid to the mass of ruins, but have rather
+introduced a new element of discordance and confusion, in the contrast
+between the cold, flat, new surfaces of masonry and the rugged,
+weatherbeaten ruins in which they are embodied.
+
+There are few buildings in which the Norman and the early English are
+so closely blended, and the transition so gentle. The great western
+door has the Norman arch, with an approach to the later types in some
+of its rather peculiar mouldings, while the broad and equally peculiar
+gallery above it--the only interior portion of the church remaining in
+a state of preservation--shows the pointed arch, with all the
+simplicity of the Norman pillar and capital. All the material
+fragments of the church now remaining are represented in the four
+accompanying plates, from which as full an idea of the shape and
+character of the remains may be derived as the visitor could acquire
+on the spot. It will be seen that over the gallery, at the western end
+of the nave, there widens the lower arc of a circular window, which
+must have been of great size. The only portions of the aisle windows
+still existing are on the south side of the nave. None of the central
+pillars remain, but their bases have been carefully laid bare: and it
+is supposed, from the greater size of those at the meeting of the
+cross, that here there had been a great central tower.
+
+Among the tombs of more modern date, in the grave-yard near the
+church, there are many which bear sculptural marks of a very remote
+antiquity; and among the ornaments they present, the primitive form of
+the cross is conspicuous. During the operations for cleaning out the
+ruins, which were conducted under the authority of the Exchequer in
+1815,[3] some pieces of monumental sculpture were discovered, two of
+which are curious and remarkable. The one is the mutilated figure of a
+dignified churchman--probably an abbot. The head, the hands--which
+appear to have been clasped--and the feet, are broken off and lost;
+but the fragment thus truncated has much appearance of grace in the
+folds of the drapery and the disposition of the limbs, while a series
+of rich ceremonial ornaments appear to have been brought out with
+great force and minuteness. The other figure, still more mutilated, is
+simpler in the ordinary details, but has attached to it some adjuncts
+which have perplexed the learned. The feet appear to have rested on
+the effigy of a beast, the remains of which indicate it to have
+represented a lion. It has, from this circumstance, been inferred that
+the statue was that of William the Lion, the founder of the abbey. The
+figure has, however, been attired in flowing robes, and a purse hangs
+from the girdle. But the portions of this fragment which chiefly
+contributed to rouse curiosity, are some incrustations, which had at
+first the appearance of the effigies of lizards crawling along the
+main figure. It was supposed that these reptiles were intended to
+embody the idea of malevolent spirits, and that the piece of sculpture
+might have been designed to represent a myth, probably in reference to
+the machinations of the infernal world. But, upon a closer inspection,
+it was found that these tiny figures represented pigmy knights in
+armor, scrambling, as it were, up the massive figure. One appears to
+be struggling with the drapery below; another has reached the waist;
+and the fracture, which is across the shoulder, leaves dangling the
+mailed heels of two others, which must have reached the neck. Is it
+possible that there can be here any reference to the slaughter of
+Becket, to whom the abbey was dedicated?
+
+FOOTNOTE:
+
+[3] New Stat. Account, Forfar, p. 80.
+
+
+HISTORICAL SKETCH.
+
+The historical circumstances connected with the foundation of this
+monastic institution are remarkable. It was founded and endowed by
+William the Lion, King of Scots, in the year 1178, and dedicated to
+St. Thomas a Becket, the martyr of the principle of ecclesiastical
+supremacy, whose slaughter at the high altar of Canterbury Cathedral
+occurred in 1170, and who was canonized in 1173. This great
+establishment, richly endowed, was thus a magnificent piece of homage
+by the Scottish King to a principle which, especially under the bold
+and uncompromising guidance of its great advocate, had solely
+perplexed and baffled his royal neighbor on the English throne, and
+boded future trouble and humiliation to all thrones and temporal
+dignities. Much antiquarian speculation has been exerted, but without
+very obvious success, to fathom the motives for this act of
+munificence. William had invaded those parts of the north of England
+which were previously held in a species of feudality by the Kings of
+Scotland, and was disgracefully defeated at Alnwick, and committed to
+captivity, just at the time when the English monarch, whose forces
+accomplished the victory and capture, was enduring his humiliating
+penance at the tomb of the canonized archbishop. Lord Hailes, who says
+that "William was personally acquainted with Becket, when there was
+little probability of his ever becoming a confessor, martyr and
+saint," endeavoring to discover a motive for the munificence of the
+Scottish King, continues to say: "Perhaps it was meant as a public
+declaration that he did not ascribe his disaster at Alnwick to the
+ill-will of his old friend. He may, perhaps, have been hurried by the
+torrent of popular prejudices into the belief that his disaster
+proceeded from the partiality of Becket towards the penitent Henry;
+and he might imagine that if equal honors were done in Scotland to the
+new saint as in England he might, on future occasions, observe a
+neutrality."[4] It is remarkable that several of the early chroniclers
+allude to this friendship between the Scottish monarch, who was a
+resolute champion of temporal authority, and the representative of
+ecclesiastical supremacy....
+
+Princes may be induced, by personal circumstances, to change their
+views, and in the times when they were not controlled by responsible
+ministers, they gave effect to their alterations of opinion. It is
+quite possible that at the time when he founded the Abbey, William was
+partial to Church ascendency, for his celebrated contest with the
+ecclesiastical power arose out of subsequent events. This King's
+disputes with the Church have a somewhat complex shape. The clergy of
+his own dominions had a spiritual war against the English hierarchy,
+who asserted a claim to exercise metropolitan authority over them; and
+it might have been supposed that William, if he sought to humble his
+own clergy, would have found it politic to favor the pretensions of
+those of England. But the interests of the two clerical bodies became
+in the end united. Thus the war which had so long raged in England,
+passed towards the north, with this difference, that the King of Scots
+had to encounter not only his own native hierarchy, but the victorious
+Church of England, just elated by its triumph over Henry. The Chapter
+of St. Andrews had elected a person to be their bishop, not acceptable
+to William, who desired to give the chair to his own chaplain. The
+King seized the temporalities, and prevailed on the other bishops to
+countenance his favorite. The bishop-elect appealed to Rome. Pope
+Alexander III issued legatine powers over Scotland to the Archbishop
+of York, who, along with the Bishop of Durham, after an ineffectual
+war of minor threats and inflictions, excommunicated the King, and
+laid the kingdom under interdict. At this point Alexander III died,
+and the new pope thought it wise to make concessions to an
+uncompromising adversary in a rude and distant land, who had shown
+himself possessed of an extent of temporal power sufficient to
+counteract the power of Rome, even among the ecclesiastics themselves.
+
+It was before this great feud commenced that the Abbey was founded;
+but during its continuance the institution received, from whatever
+motives, many tokens of royal favor, as well as precious gifts from
+the great barons. Among the list of benefactors we find many of those
+old Norman names, which cease to be associated with Scottish history
+after the War of Independence. It is a still more striking instance of
+the community of interest between the two kingdoms anterior to this
+war, that while we find a Scottish king devoting a great monastic
+establishment to the memory of an English prelate, we should find an
+English king conferring special privileges and immunities within his
+realm on the Scottish brotherhood....
+
+The Abbey was founded for Tyronesian monks, and the parent stock
+whence it received its first inmates was the old Abbey of Kelso. In
+the year of the foundation, Reginald, elected "Abbot of the Church of
+St. Thomas," was, with his convent, released of all subjection and
+obedience to the abbot and convent of Kelso. The church was completed
+and consecrated under the abbacy of Ralph de Lamley, in 1233.
+Aberbrothwick was one of those ecclesiastical institutions immediately
+connected with the spread of the Roman hierarchy, which gradually
+sucked up the curious pristine establishment of the Culdees; and the
+muniments of the Abbey thus afford some traces of the character and
+history of this religious body, at least towards the period of their
+extinction. Thus, while the Church of Abernethy, an ancient seat of
+the Culdees, is granted by King William to his new foundation, Orme of
+Abernethy, who is also styled Abbot of Abernethy, grants the half of
+the tithes of the property of himself and his heirs, the other half of
+which belongs to the Culdees of Abernethy, while some disposals of a
+strictly ecclesiastical character are made by the same document. Thus
+we find an abbot who makes disposal for his heirs--a counterpart to
+those references to the legitimate progeny of churchmen, which
+frequently puzzle the antiquary in his researches through early
+Scottish ecclesiastical history.
+
+The Abbot of Aberbrothwick possessed a peculiar privilege, the origin
+of which is in some measure associated with the Culdees--the custody
+of the Brecbennach, or consecrated banner of St. Columba. The lands of
+Forglen, the church of which was dedicated to Adomnan the biographer
+of Columba, were gifted for the maintenance of the banner. The
+privilege was conferred on the Abbey by King William, but as it
+inferred the warlike service of following the banner to the King's
+host, the actual custody was held by laymen, the Abbey enjoying the
+pecuniary advantages attached to the privilege, as religious houses
+drew the temporalities of churches served by vicars.
+
+It will readily be believed that this, one of the richest and most
+magnificent monastic institutions in Scotland, numbered many eminent
+men among its abbots, who from time to time connect it with the early
+history of Scotland. It is even associated with a literature that has
+survived to the present day, in having been presided over by Gavin
+Douglas, the translator of Virgil. The two Beatons, Cardinal David and
+Archbishop James, also successively its abbots, give it a more
+ambiguous reputation. At the Reformation, the wealth of the Abbey was
+converted into a temporal lordship, in favor of Lord Claude Hamilton,
+third son of the Duke of Chatelherault, and the greater part of the
+temporalities came, in the seventeenth century, into the hands of the
+Panmure family.
+
+In a tradition immortalized by a fine ballad of Southey's, it is said
+that the abbots of Aberbrothwick, in their munificent humanity
+preserved a beacon on that dangerous reef of rock in the German Ocean,
+which is supposed to have received its name of the "Bell Rock" from
+the peculiar character of the warning machinery of which the abbot
+made use:
+
+ "The Abbot of Aberbrothwick
+ Had placed that bell on the Inchcape rock,
+ On a buoy in the storm it floated and swung,
+ And over the waves its warning rung.
+
+ "When the rock was hid by the surge's swell,
+ The mariners heard the warning bell;
+ And then they knew the perilous rock,
+ And bless'd the Abbot of Aberbrothwick."
+
+The tradition represents a rover, in the recklessness of prosperity
+and sunshine, cutting the bell-rope, and afterwards returning in foul
+weather to be shipwrecked on the rock from which he had impiously
+removed the warning beacon. No evidence of the existence of the bell
+is found in the records of the Abbey; and on the subject of its wanton
+removal, the sagacious engineer of the Northern Lights say, "It in no
+measure accords with the respect and veneration entertained by seamen
+of all classes for landmarks; more especially as there seems to be no
+difficulty in accounting for the disappearance of such an apparatus,
+unprotected, as it must have been, from the raging element of the
+sea."[5]
+
+FOOTNOTES:
+
+[4] Annals, 1178.
+
+[5] Stevenson on the Bell Rock Light-house, 69.
+
+
+DESIGN FOR A STORE. MESSRS. WAIT & CUTTER, ARCHITECTS, BOSTON, MASS.
+
+
+
+
+[Illustration: SOCIETIES]
+
+
+BOSTON SOCIETY OF ARCHITECTS.
+
+Recommendations by the Boston Society of Architects, in regard to
+practice in obtaining estimates from contractors:
+
+1. Drawings, when offered for final or competitive estimates, should
+be sufficient in number and character to represent the proposed works
+clearly; should be at a scale of not less than one-eighth of an inch
+to the foot, and be rendered in ink or some permanent process.
+
+2. Proper details should be furnished for work that is not otherwise
+sufficiently described for estimate.
+
+3. Specifications should be in ink. They should be definite where not
+sufficiently defined and explained by drawings, and every distinctive
+class of work to be included in contract should be mentioned and
+placed under its appropriate heading.
+
+4. Contractors should be notified, at time of estimate, if they are to
+be restricted in the employment of their subcontractors.
+
+5. Sub-bids received by architects should be held as confidential
+communications until all the estimates in a given class of work have
+been submitted.
+
+The principal contractor should add to his bids all these subestimates
+while in the architect's office, and should sign a tender in which the
+names of these above-mentioned subcontractors should be enumerated.
+
+6. A subcontractor should not (without his free consent) be placed
+under a general contractor, and no general contractor should be
+compelled to accept (without his free consent) the estimate of any
+subcontractor.
+
+7. Should a contractor decline to assume in his contract the estimate
+for any work not included in his original estimate, he should not
+thereby be denied the contract upon the portions of the work covered
+by his original estimate.
+
+8. Estimates should not be binding more than thirty days after
+received.
+
+9. Unless previous notification has been given to the contrary in the
+specification or otherwise, the lowest invited bidder is entitled to
+the contract. If radical changes are made, the whole competition
+should be reopened.
+
+10. After bids have been received, and before the award, bidders
+should not be allowed to amend their estimates.
+
+
+
+
+[Illustration: COMMUNICATIONS]
+
+
+[_The editors cannot pay attention to demands of correspondents who
+forget to give their names and addresses as guaranty of good faith;
+nor do they hold themselves responsible for opinions expressed by
+their correspondents._]
+
+
+BARYE'S ADMIRER.
+
+NEW YORK, N.Y., December 28, 1889.
+
+TO THE EDITORS OF THE AMERICAN ARCHITECT:--
+
+_Dear Sirs,_--I have just seen a letter from "Anglo-American" in your
+issue of December 14, in which he calls for the name of the English
+artist who said concerning the French sculptor, Barye: "Had he been
+born in Great Britain, we would have had a group by Barye in every
+square in London."
+
+Theophile Silvestre reports this remark as if uttered in his presence.
+He says (1856) that the speaker was Mr. Herbert, an artist of
+distinction. Probably this was Arthur J. Herbert. Your correspondent
+takes the remark perhaps too literally, when it merely meant to
+express admiration through a slight exaggeration. Mr. Herbert would
+have been content to see a few squares only decorated with groups by
+an English equivalent of Barye, had one existed.
+
+As to the assertion by "Anglo-American" that Alfred Stevens was "an
+artist not inferior to Barye" it will be shared by few who have
+studied the works of the great French sculptor of animals and men.
+
+"Anglo-American" is right in saying that my short paper in _Harper's
+Weekly_ errs in giving two bronze groups after Barye to Mount Vernon
+Square, Baltimore, instead of four. Were I a resident of that city, I
+could hardly have known this better, and how the error got there
+puzzles me. Certainly had I been permitted to see a proof of that
+paper the mistake would have been corrected, unimportant as it is, so
+far as Barye is concerned. I must compliment your correspondent on the
+quickness of eye that detected the slip and regret that the
+proof-reader of _Harper's Weekly_ did not know his Baltimore to the
+same degree. But he is himself in error when he speaks of the "_Life
+and Works of Antoine Louis Barye_," written by me and published by the
+Barye Monument Association as a catalogue. The catalogue is quite
+another thing from the _edition deluxe_, which is the only edition of
+the "_Life_."
+
+ CHARLES DE KAY.
+
+
+EVAPORATION OF WATER IN TRAPS.
+
+TO THE EDITORS OF THE AMERICAN ARCHITECT:--
+
+_Dear Sirs,_--In a late issue of your journal an advocate of
+Trap-venting, says of ordinary S-traps "If the traps are filled even
+once in two months they will keep their seals intact."
+
+Most persons now agree that S-traps which are back-vented in the
+ordinary manner require refilling by hand as often as once a
+fortnight. It is, therefore, clear that the system of back-venting is
+a very dangerous one. Its original object was to afford security. It
+is now found (and strangely enough, even by its advocates) that it
+totally fails in this respect and that it requires an amount of
+attention which experience and common-sense show us it will never
+receive.
+
+My experiments on the rate of seal-reduction through evaporation
+produced by back-venting were made with the greatest care and show a
+more rapid loss than is generally supposed. If the reports of these
+experiments are studied, it will be seen that every precaution was
+taken to secure trustworthy results. Although my experiments on
+siphonage were made during the same year and on the same system of
+piping with those on evaporation, it will be seen by studying the
+drawings and text of the report that the former in no wise interfered
+with the latter. No experiments on siphonage were made while the water
+stood high in the traps during the tests for evaporation, and no
+disturbance of the water seals was made by this or any other cause
+during the evaporation tests. It would have been exceedingly careless
+and totally unnecessary to allow of any such disturbance. Moreover,
+most of the experiments on evaporation were made, as shown, on a stack
+so connected with the rest of the system of piping that such
+disturbance would have been impossible. Even had we not so carefully
+closed the inlet or house-side of the traps.
+
+I found that a warm flue caused the back-vent pipe to evaporate enough
+of the water from the seal of the trap to break it in less than a
+week, and I am confident that this often happens in practice.
+
+How short-sighted and foolish is it to endeavor to throw discredit on
+these experiments which were made with the greatest care and honesty
+and which were witnessed and subscribed to by impartial experts, and
+to argue that, because other experiments made under different
+conditions showed a somewhat slower rate of evaporation, therefore
+cases could never occur in which the more rapid rate might be
+encountered in practice.
+
+It is likely that the public will very soon awake to a sense of the
+importance of investigating this matter for themselves. Their Boards
+of Health will then find that with a very small outlay they can obtain
+the truth; and that a vast amount of unnecessary complication and
+expense can be saved in plumbing and, at the same time greater
+security be obtained.
+
+When we consider, too, the well-known unreliability of the vent-pipe
+in other ways and the frequency with which it is found totally closed
+by grease, it becomes something more than folly to recommend the
+public to place implicit reliance upon it.
+
+ J. P. PUTNAM.
+
+
+
+
+[Illustration: NOTES AND CLIPPINGS]
+
+
+THE DIVINING-ROD.--Professor Ray Lankester, having recently expressed
+some doubts of the alleged powers of a boy "water-finder." Dr.
+McClure, who is chairman of the company by whom the boy is employed,
+has denied emphatically that the boy, whose name is Rodwell, is an
+impostor. He says that the lad, when tested, never failed to find
+either water or mineral veins, the lodes having always been found
+exactly at the places indicated. The divining-rod which he holds only
+moves in obedience to the muscular contraction of his hands, and a rod
+of any kind of wood, or even of any material substance whatever, can
+be used, provided it be a conductor of electricity. Dr. McClure's
+statements have excited considerable comment in England. The phenomena
+of tests by the divining-rod are not by any means new. They have never
+been described from a scientific point-of-view, nor has any
+philosophical explanation of them ever been advanced, but there is no
+question whatever of their existence, and of their being now regarded
+by the most advanced scientists as beyond the region of chicanery and
+imposture. Mr. W. J. Jenks, in a recent lecture on "The Protection of
+Electric Light Stations from Lightning," treats the subject very
+exhaustively, and shows that where the ability to locate electrical or
+magnetic attraction is vested in an individual the results are
+absolutely reliable. He instances the case of two gentlemen of
+Merrimac, Massachusetts, named Prescott, who for several years have
+given displays of this rare faculty. As an illustration of the
+certainty with which the Prescott brothers could indicate the location
+of electrical attraction, Mr. Jenks gives a well-authenticated
+incident which took place at Amesbury not long ago. Several old
+citizens were sceptical as to the accuracy of the conclusions supposed
+to have been reached, and determined on a severe test. Taking twenty
+or more citizens as witnesses, they requested the Prescott brothers to
+accompany them, and indicating a stretch of highway before them, some
+forty or fifty rods in length, stated that some years previous
+lightning had struck on that road, and wished to be informed as to the
+exact spot. Proceeding several rods, two cross currents were marked
+out; both extending for some distance in the travelled pathway and
+crossed by another at right angles. Testing carefully the roads in
+both directions, this electrical centre was pointed out as the
+greatest danger in the vicinity. The party was then invited to examine
+an ancient volume of official records, where it was chronicled that on
+the 7th of October, 1802, a man who was driving two yoke of cattle was
+struck by lightning in that exact spot and, with all his animals, was
+instantly killed. The occurrence had been deemed at the time so
+remarkable that the circumstance, with a minute description of the
+locality, had been recorded, though long forgotten by all but perhaps
+a few of the oldest citizens.
+
+ * * * * *
+
+THE DANGERS OF ELECTRICITY.--The rapid spread of electric lighting
+in America has not been accomplished without very considerable loss
+of life. From a list compiled by Mr. Harold P. Brown, of New York,
+we learn that eighty-seven persons have been killed up to the
+commencement of this year. This is a very serious total, and if
+there were any likelihood of the rate being maintained, it would
+supply ample reason for very stringent legislative control being
+exercised over all electric installations. Happily many of the
+accidents may be attributed to the want of knowledge which always
+characterizes a new manufacture, while numbers of them are also due
+to the hasty and careless methods of erection adopted in America.
+Both these causes may be expected to decrease rapidly in the future,
+particularly if the municipalities insist on the mains being placed
+underground, instead of being strung on poles in the streets. Mr.
+Brown is well-known from his persistent opposition to the alternate
+current system; he never misses an opportunity of insisting upon its
+dangers, and of comparing it, to its detriment, with the
+direct-current system. Now as the alternate system is rapidly
+spreading all over London and also in many parts of the kingdom,
+this is a question which interests us directly. Are we running
+special risks by permitting its establishment? As far as lighting
+currents of fifty or one hundred volts are concerned, it certainly
+matters little or nothing whether they are direct or alternate, for
+neither will produce any serious injury on the human frame. When it
+comes to currents of distribution of two thousand volts, then it is
+quite conceivable that death is more certain by the alternate
+current, but unfortunately it is also fairly certain with the direct
+current, so that there is very little to choose between them. A
+house in which the fittings were charged to such a potential would
+be as dangerous as a battlefield. What is wanted is sufficiently
+good workmanship to prevent contact ever being made between the
+distributing mains and the service wires, and this there should be
+no difficulty in obtaining. Even if a leak should occur the device
+of putting the service main to earth at one point will prevent it
+doing any harm. Mr. Brown refers to two cases in which men were
+killed by contact with a perfectly insulated wire, their death being
+caused by the static charge. We feel considerable doubt as to the
+possibility of any one being killed by a static charge under these
+circumstances; we prefer to believe that the insulator was bad,
+probably a mere taping of non-waterproof material. Just as the
+death-rate on a railway varies inversely as the perfection of the
+signalling appliances, so the fatalities in America from electricity
+will decrease as better materials are adopted, and more care is
+expended in erection.--_Engineering._
+
+ * * * * *
+
+THE MONOLITHIC CHURCH OF ST. EMILION.--About twenty miles to the
+north-east of Bordeaux is Libourne, one of the principal towns founded
+by Edward I. This flourishing commercial town was the ruin of its
+neighbor, St. Emilion, which affords a fine field for the antiquary,
+nearly the whole town consisting of buildings of the Middle Ages. A
+considerable part of the town wall of the twelfth century remains,
+with the ditch, now turned into vineyards, and at one corner is a fine
+house of the same period, which is called the Palace of the Cardinal
+de la Mothe, who may perhaps have resided in it; but it is at least a
+century older than his time, and can hardly be later than 1200, as
+will at once be seen by the details. The French antiquaries say that
+it was built by the Cardinal in 1302, and speak of it as a remarkable
+synchronism in art; but the fact appears to me simply incredible. The
+most remarkable feature of St. Emilion is the monolithic church, which
+is probably one of the most curious of its class. It is cut entirely
+out of the solid rock, and is of early Romanesque character. The
+precise date is uncertain, but it appears most probable that the work
+was commenced in the eleventh century, and carried on through the
+whole of the twelfth. St. Emilion is said to have lived in the eighth
+century. A fragment of an inscription remains, the characters of which
+agree with the eleventh century; but some of the French antiquaries
+attribute it to the ninth. Others consider it as merely the crypt of
+the church above on the top of the rock; but that church is of much
+later character, and it is much more probable that the subterranean
+church was first made, and the other built long afterwards, when the
+country was in a more settled state. This church is 115 feet long by
+80 wide. It consists of three parallel aisles, or rather a nave and
+two aisles, with plain barrel-shaped vaults, if they can be so called,
+with transverse vaults or openings, and round arches on massive square
+piers; the imposts are of the plain early Norman character, merely a
+square projection chamfered off on the under side, but one of them is
+enriched with the billet ornament. There are recesses for tombs down
+the sides, and a fourth aisle or passage has been cut out on the south
+side, apparently for tombs only, as it has recesses on both sides to
+receive the stone coffins. Still farther to the south, but connected
+by a passage, is a circular chamber in an unfinished state, with a
+domical vault, and an opening in the centre to a shaft which is
+carried up to the surface. Whether this was intended for a
+chapter-house, or for a sepulchral chapel in imitation of the Holy
+Sepulcre, is an undecided point. I incline to the latter opinion. This
+subterranean church or crypt is necessarily lighted from one end only,
+where it is flush with the face of the rock; and these openings are
+filled with Flamboyant windows, which are very evident insertions. On
+the surface of the hill over this church, but with a large space of
+solid rock intervening, is the tower and spire belonging to it. The
+tower is of late Norman and Transitional character surmounted by a
+Flamboyant crocketed spire. There is a kind of well or flue cut
+through the rock under the tower into the church below, apparently for
+the bell-ropes. In the church are remains of early painting, and some
+shallow sculpture, the character of which appears to be of the twelfth
+century. Adjoining to the church, on the south side, is a detached
+chapel of transition Norman work, with an apse vaulted with good ribs
+and vaulting shafts. A considerable part of the old painting is
+preserved; some of the ribs are painted with zigzags. Under this
+chapel is a crypt or cave cut out of the rock called the Grotto of St.
+Emilion, with a spring of water in it. The work is of the same early
+character as the other vaults.--_J. H. Parker._
+
+ * * * * *
+
+ANOTHER TALL CHIMNEY.--A factory chimney, said to be the highest in
+the world, is now being erected at the Royal Smelting-Works, near
+Freiberg, in Saxony. The horizontal flue from the works to the chimney
+is 1,093 yards long; it crosses the river Mulde, and then takes an
+upward course of 197 feet to the top of the hill upon which the
+chimney is being built. The base of the structure is thirty-nine feet
+square by thirty feet in height, on which is placed a short octagonal
+transition, from which the round shaft starts. This is 430 feet high,
+or altogether, with the base 460 feet high, with an inside diameter of
+twenty-three feet at the bottom, and sixteen feet and six inches at
+the top. It will take 1,500,000 bricks, and the cost is
+L6,000.--_Exchange._
+
+ * * * * *
+
+SITE OF A LOCRIAN TOWN.--The site of an ancient city of the Locri in
+modern Calabria, Italy, is in progress of excavation, under the
+direction of Dr. Orsi. The modern name of the spot is Gerace. A temple
+of six columns has been unearthed, and among the prizes is a Greek
+group in Parian marble, showing a divinity with a fishtail, a horse
+and a nude youth. The group is supposed to have been placed in the
+pediment of the west gable. Other finds are awaited.--_New York
+Times._
+
+ * * * * *
+
+THE WATKIN TOWER.--Four hundred plans have already been received by
+the committee who offered prizes for the best and second-best plan for
+the proposed Watkin tower--the English Eiffel. It has been said that
+it will be so high that all that need be done when fog comes on will
+be to enter the lift and in a few minutes be up in the clear
+blue.--_Boston Post._
+
+ * * * * *
+
+PERSIAN COURT ART.--M. Georges Perrot will maintain in his
+forthcoming volume on Persian art, being the fifth volume of "The
+History of Art," that the old art of Persia had nothing to do with
+the Persian people, being simply official or Court art. The
+designers and builders, sculptors and artists, were, he thinks, not
+Persians, but Greeks. The architect of the palaces of Darius was a
+Greek or a Phoenician.--_New York Times._
+
+
+
+
+[Illustration: TRADE SURVEYS]
+
+
+There are signs of a subsidence of popular hostility to railroad
+combinations, trusts and commercial and manufacturing organizations of
+various kinds intended to conserve mutual interests. If the granger
+spirit had its own way it would, through its control of the
+legislative mills, grind a good many corporations to powder, and do
+tenfold more damage by its destructive methods than could possibly be
+repaired by mistaken remedies. It is, after all, a question whether
+any form of combination is possible which can very long do much damage
+to the people at large. These gigantic commercial and railroad
+organizations with which we have recently become familiar are
+giant-like efforts of enormous interests to rise up out of old
+conditions. Progress and development must take place, and the efforts
+of trusts, associations and combinations by whatever name known are
+simply the preliminary movements of mighty interests to reorganize
+themselves upon a broader and higher platform. The people in their
+jealousy and anxiety to protect themselves have, in some sections of
+the country, run into the adoption of extreme measures. They are
+already preparing to retrace their steps, and for several reasons.
+They are discovering that they have been fighting a bugbear; also,
+that their legislation against the bugbear cannot legislate. Also,
+that money stays away from radical communities, that many possible
+advantages are lost; that combinations properly controlled have,
+within themselves, the capabilities of accomplishing much good.
+Despite the threatened damage of these monster combinations prices
+have been quietly and steadily declining in nearly every direction;
+railroad freights have slipped down, notch after notch. Association
+after association has come and gone, and the Interstate Railway Law
+itself is in danger of being set aside for something better. The
+people are learning to have less fear of these combinations, and more
+confidence in themselves and for the underlying laws of trade. The
+year ends with gratifying results to business men in every avenue of
+activity. The action of the Treasury Department furnishes a hint to
+the country that a large supply of currency may soon become a
+necessity. The evil that would result from an unexpected and prolonged
+financial stringency cannot be measured. Over five thousand new
+corporations, firms and business associations have started in the
+South last year, as against something like 3,700 for 1888. Never in
+our history was there such an incubation of new business ventures. A
+stringency in money will destroy these by the thousand. Two or three
+scores of railroad enterprises which have reached the stage of
+bond-issuing would also be thrown aside, and thousands of enlargements
+of manufacturing and mining properties would be postponed; but it is
+useless to borrow trouble, or to paint dismal possibilities, as it is
+to be presumed that the people and their spokesmen fully understand
+the question. There is not a single branch of business in which
+reasonable fault can be found with results, excepting the one general
+result of very narrow margins. Consuming-capacity, on the whole, has
+increased. The wage-earners are earning as much as for years past, and
+are receiving more for their expenditures; that is to say, less of the
+product of labor in the aggregate is being absorbed by middlemen, or
+what might be termed non-productive agencies. The production of labor
+is being more evenly and equitably distributed than ever before. The
+ideal justice dreamed of by the philosophic socialists is within
+reach. In short, the wage-worker is better off, has more advantages,
+greater opportunities, and is yearly becoming a more important factor
+in the Government.
+
+As long as railway gross and net earnings continue to improve no
+reaction is to be feared, according to the dictum of Wall Street.
+There are strong probabilities that the favorable showing will
+continue. The anthracite coal production for 1889 foots up 35,200,000
+tons, as against 38,145,718 tons for 1888. The distribution of soft
+coal throughout the New England and Middle States for steam-raising
+and general manufacturing purposes is gradually increasing. Last
+week's distribution of Connellsville coke reached the unprecedented
+figures of 125,000 tons. The production for the year foots up over
+4,500,000 tons. The expansion and development of industries throughout
+the Middle and Southern States continues, and hundreds of new
+enterprises will take shape early in the spring. Iron and steel makers
+are projecting new furnaces and mills in Pennsylvania, Ohio, Kentucky,
+Tennessee and Alabama. Some forty or fifty cotton mills are projected
+between Georgia and Texas. Mining companies representing fully forty
+million dollars of capital--that is, actual working capital--will
+begin operations this winter along the eastern slope of the Rocky
+Mountains. Industrial and building activity will take a fresh start
+upon the Pacific coast. Among the branches which will be developed
+will be saw-mill and foundry building. Machinery, engines, castings of
+all kinds, stoves and small iron and wood work are in great demand all
+along the coast from the Columbia River to Los Angeles. A great deal
+of capital and enterprise has been encouraged thither during 1889,
+and, as a result, manufacturing is greatly stimulated. The Dominion
+Government is also alive to the importance of developing relations
+with Asiatic and other foreign countries, and ship-lines are projected
+from its western seaports to foreign countries. Railroad-building is
+also being greatly stimulated by private enterprise. A vast amount of
+capital is drifting into the Rocky Mountain and Pacific coast regions
+from Eastern cities, and a great empire is being built up there which
+will be a source of wealth to those who obtain possession of land,
+timber, minerals and manufacturing facilities before the general
+enhancement of values takes place. The benefits originally
+contemplated by the construction of the trans-continental roads are
+now only being felt in their intensity. Irrigation companies, heavily
+capitalized, are doing excellent work in reclaiming vast tracts which
+geographers declared lost to all future utility. Mining engineers who
+have made a very careful examination and survey of much Western
+territory in the interest of Boston and New York moneyed men furnish
+evidences of wealth in those sections, which cannot but bring to them
+the money and enterprise necessary to their full development. The
+smaller industries throughout the States east of the Mississippi River
+are all doing well. Manufacturers are making money, but not as rapidly
+as they would like. Competition is exercising a healthy restraining
+influence. Like interests are being drawn together through the spirit
+of organization. Manufacture and agriculture are evenly balancing
+themselves. Commercial failures for 1889 show a moderate increase,
+but, considering the rashness with which ill-equipped persons enter
+into business and manufacturing, it is surprising that the failures
+are so few.
+
+ * * * * *
+
+S. J. PARKHILL & CO., Printers, Boston.
+
+
+
+
+Transcriber's Note:
+
+Minor printer errors (omitted or incorrect punctuation, missing or
+transposed letters etc.) have been corrected without note. All
+remaining variations in spelling, hyphenation, etc. are preserved as
+in the original, with the following exceptions:
+
+ Page iv--Concontractors amended to Contractors--"Estimates.
+ Builders' and Sub-Contractors', 161"
+
+ Page iv--Judaean amended to Judean--"Judean Tombs, 117"
+
+ Page v--Scandinavan amended to Scandinavian--"Scandinavian
+ Art, 37, 53, 63"
+
+ Page v--Maxmilian amended to Maximilian--"Tomb. [of]
+ Maximilian at Innsbruck, 61"
+
+ Page vii--place name and page reference transposal
+ reversed--"Strozzi Palace, Florence, 70"
+
+ Page viii--Ruitz amended to Rintz--"Berlin, Ger. ... House
+ on the Yorkstrasse. Herr Rintz, ..."
+
+ Page viii--Willisch amended to Wellisch--"Buda-Pesth,
+ Austria. House of Herr Hatner. Alfred Willisch, ..."
+
+ Page viii--Felixtowe amended to Felixstowe--"Felixstowe,
+ Eng. The Gables." etc.
+
+ Page viii--repeated 'the' deleted--"Painting by Puvis de
+ Chavannes in the Grand Hall ..."
+
+ Page 5--succedded amended to succeeded--"... far from
+ honourable, have succeeded in getting control ..."
+
+ Page 7--scholorship amended to scholarship--"... to whom
+ scholarship is dear ..."
+
+ Page 9--argillacious amended to argillaceous--"... of a
+ loose argillaceous irony matter ..."
+
+ Page 9--repeated 'is' deleted--"... showing that it is not
+ its geological position ..."
+
+ Page 11--gripe amended to grip--"... carrying a lion whose
+ dreadful grip his frantic rearing cannot loosen."
+
+The index entry on p vi, Suggestion for the Executive Mansion by
+Theodore F. Laist, etc. has no page reference in the original
+publication.
+
+The word Phoenician was printed with an oe ligature. This has not been
+retained in this version.
+
+Illustrations have been shifted slightly so as not to fall in the
+middle of paragraphs.
+
+
+
+
+
+End of the Project Gutenberg EBook of The American Architect and Building
+News, Vol. 27, Jan-Mar, 1890, by Various
+
+*** END OF THIS PROJECT GUTENBERG EBOOK AMERICAN ARCHITECT ***
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