The practical book of architecture

Front matter

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Foreword

This book has two distinctly practical objects.

Ability to distinguish the various principal styles of architecture, and to know something of these styles, should be a part of the education and culture of every well-informed man and woman.

The aim of Part I, A Practical Guide to Styles, is to give, as part of a liberal education, a thorough working knowledge of architecture and architectural styles, so far as is necessary for the use of the general reader, and to give it in so succinct and practical a way that it may easily be assimilated.

Part II, A Practical Guide to Building, adds to the above knowledge information of a more practical kind for those who are about to have erected for them houses or other buildings, either in the city or the country, at either large or small expense, or who may be connected in any way with Advisory Boards for the erection of buildings of a more public character.

The chapter on arrangements with architect and contractors treats of a subject never before presented to the lay reader in a direct manner, and a glance at the Table of Contents will show how helpful this portion of the work will prove.

In presenting a practical book on architecture a distinct responsibility devolves upon the author — a responsibility which can be discharged only to the extent to which it may be possible to dispel certain popular illusions which have always clung to the subject, to divide and separate architecture into its several proper phases, and to set forth salient and essential 1

2 FOREWORD

points in a manner at once clear, accurate and illuminating.

In this task the author feels that the opportunity is as great as the responsibility, and that in the following pages it may be possible permanently to remove the subject of architecture as a whole from its present classification as a subject technical and place it in its true position as a subject of general and intimate contact with the every-day life of all of us.

Architecture is a comprehensive subject, but should not fairly be considered a complex one. That it has often appeared to be involved in complexity and technicality is due to the fact that few critics or expositors have divided the subject into its logical parts for separate consideration.

Architecture involves history, design, construction and practice, which main divisions suggest logical subdivisions. The present volume is not designed to be a history of architecture, nor is it a treatise on any one of the main aspects of the subject in general. It represents, rather, a careful effort to co-relate the essentials in a clear and concise manner, in order that the subject of architecture may become, as it should, a part of any liberal education, and may cease to be regarded as a ^ ‘ technical ’ ’ subject.

In the preparation of this work the author has endeavoured to give to each consideration of the subject its proper emphasis with regard to each other consideration, in order to develop a complete and serviceable exposition of the whole. The subject of architecture in general is of broad interest to everyone. To those who contemplate building, and who will consequently be called upon to exercise their judgment in the question of architectural design, the subject is of direct interest.

FOREWORD

The logical study of architecture, for either class, must begin with some acquaintance with the development of architecture, of historic types and forms, then with architectural design, in which forms are employed to create these types. Here will cease the study of architecture as a historic development, and there will have been acquired a practical familiarity with types of building, styles, and the architectural forms characteristic of these styles.

With this practical familiarity as a preliminary equipment, benefit then may be had from due consideration of the practical side of the subject — the selection of site, study of local conditions, natures of materials and the functions of the architect. This dual presentation of the subject forms the author’s plan for the present work.

The author wishes to acknowledge with gratitude the kind co-operation of the following architects and others who have generously extended courtesy in the matter of illustrations :

To the architectural profession is due the present degree of merit attained by the architecture of this country, for the American architect has been forced to deal with conditions more difficult and more complex than have confronted the architects of other lands and other times.

It would be difficult to overstate the further impetus to architectural ideals and practice which would be given by a more general, popular appreciation and understanding of the subject, and any effort to develop this understanding so that it will benefit architecture and public alike must call for the most serious and sincere effort of any writer in the field of architecture.

In addition to an expression of indebtedness to all

FOREWORD those architeets whose works have contributed to the illustration of this book, the author wishes to acknowledge with gratitude assistance or permission connected with certain illustrations. These acknowledgments include Messrs. H. D. Eberlein, W. T. R. Price, Julian Buckly, II. W. Frohne, Braun & Company, and the Architectural Record, In the matter of text, the author ^s thanks are due to The Churchman for courteous permission to quote the major portion of the author’s Symbolism in Architecture,” and to Arts and Decoration for courteous permission to paraphrase certain portions of the author’s contributions thereto, relative to ‘‘The English Point of View in Architecture,” “Building in Brick,” and “ The Inherent Qualities of Building Materials.”

C. Matlack Price

Part I A Practical Guide Tg Styles

CHAPTER PAGE

I. Architecture 15

The Nature of Architecture and its Place as Part of a Liberal Education. The Value and Benefit of Architectural Appreciation. Architecture not a Technical Subject. Some Fundamentals of Architecture. Understanding of Modern Architecture Dependent upon Acquaintance with Past Historic Styles.

II. The Evolution op Architecture 28

The Growth of the Great Architectural Styles. The Architecture of Egypt, of Assyria, of Greece, of Rome. Byzantine and Romanesque Architecture.

III. The Evolution of Architecture {Continued) 47

Gothic Architecture and Renaissance Architecture. A Study of the Differing Expressions of those Two Great Styles in Italy, France, Spain, Belgium, England and Germany.

IV. The Classic Ideal 73

A Study of the Immortal Qualities of Classic Architecture.

Its Manifestations in Several “Classic” Revivals. The Important Place of Classic Architecture in the Design of Public Buildings. The School of the Beaux-Arts, its Teachings and its Wide Influence.

V. Byzantine, Romanesque and Gothic Derivations 106

The “Romanesque Revival” in America. The Place of Romanesque Styles in the Architecture of To-day. Gothic Derivations, Ecclesiastical, Collegiate, Military and Secular in America.

VI. English Derivations, Early and Modern 132

The Importance, Causes and Meaning of English Influences on American Architecture. The Anglo-American Country- House. The Adaptability of English Collegiate Architecture.

VII. Latin Derivations in American Architecture 157

Architectural Types Adapted from Italy, France and Spain. The Italian Villa in America. The Important Place of Italian Renaissance Architecture. French Influences in Chateaux, Modern City Houses and Hotels. Little Appreciated Architectural Legacy from Spain.

CONTENTS

VIII. Native American Architecture 17^

American Types Characteristic of New England, The Middle Atlantic States, and The South. Creole and Spanish Colonial Architecture. “Secessionist” Work in the Middle West, the “Craftsman Idea” and Some Comments on the Bungalow.

IX. Architectural Addenda 203

New Styles Applied to Familiar Uses, and Old Styles Applied to New Uses. ‘‘L’Art Nouveau” The “Secessionists” and “Modernists.” The City House, The Office Building, The Loft Building, The Modern Hotel, the Apartment House and the Great Railroad Terminal.

Part II A Practical Guide To Building'

CHAPTER PAGE

I. The Selection of Location, Style, Material and Architect 225

Style from Viewpoints of Relation to Site, Material, General Appropriateness, etc. Local Materials and Local Labour Conditions. Foresight and Advice. Choosing an Architect.

II. Architect and Client 244

Building is a Business Transaction. How to Consult the Architect. The Nature of the Architect’s Services, What Architect and Client should each Rightly Expect from the Other. Basis of Charges, Supervision, “Extras,” etc. Architectural Drawings and Specifications.

HI. Materials and Construction 274

Consideration of Physical and .Esthetic Properties of Building Materials. Natures, Suitability, Comparative Costs, etc., of Building Materials. The Importance of Texture. Associated Suitability of Materials and Styles.

IV. Plans and Details 304

Different Kinds of Plans. Importance of a Definite Method of Procedure in Developing Both Plans and Details. Notes on Windows, Doors, Chimneys, Stairways, etc. Woodwork, Interior Trim and Finish, Hardware, Lighting and Plumbing Fixtures, etc. The Best Manner in which to Insure the Fulfilment of Requirements.

Great Tangley Manor, Surrey, England Frontispiece

From an Original Water-colour Painting by Anna Richards Brewster.

PLATE PAGE

ARCHITECTURAL TERMINOLOGY, ILLUSTRATED. . . . 13

I. Egyptian Bell Capital Column, Egyptian Stalk Column, Doric Order (Modern), Ionic Order (Modern), Corinthian Order (Modern), Tuscan Order (Modern), Composite Order (Modern).

II. Principal Parts of a Classic Entablature, Rusticated Masonry, Quoins, Rock-Faced Masonry.

III. Common Architectural Motifs of Classic Origin (Greek Key, Fret, Anthemion, Egg-and-Dart, Leaf-and-Dart, Wave and Guilloche).

IV. Marquise, Cartouches (French and Italian), Spandrils, Pediments (Curved, Angular, Cyma, Broken), Balusters.

V. Palladian Entrance, Palladian Window, Corbels, Console, Finial, Dormer Window in Mansard Roof, Fanhght.

VI. Linenfold Panel, Greek Acanthus, Spiral Volute, Pilaster Capitals, Modillion and Dentils, Lantern, Console Keystone, Renaissance Arabesque, Lunette.

VII. Attributes, Renaissance and Roman Uses of Arch and Columns, Caryatid Figure, Terminal Caryatid, Terminal Figure, Spindles.

PART I.

PAGE

The Towers of the Chateau of Langeais 16

A Typical American Dwelhng of the Style Erroneously Called “Queen

Anne” 16

“Monticello,” The Virginia Home of Thomas Jefferson 17

The Woolworth Building, seen through the Arcade of the New York

Municipal Building 18

Two Details of the Cleveland Post Office and Federal Building 19

A Greek Doric Temple at Segesta, Sicily 34

The Caryatid Porch of the Greek (Ionic), Erechtheum, Athens 34

The Corinthian Temple of Jupiter Stator, Athens 35

The Arch of Constantine, Rome 35

The Cathedral of St. Mark, Venice 38

Detail: Cloister of St. Paul-beyond-the-walls, Rome 38

Typical Byzantine Columns, Capitals and Carving 39

The Cathedral of Notre Dame, Paris 48

A Typical Gothic Detail 48

Rose Window of the Cathedral of Notre Dame, Paris 49

Recessed Doorway of the' Cathedral of Notre Dame, Paris 49

Nave, interior; Cathedral of Notre Dame, Paris 50

Transept, interior; Cathedral of Notre Dame, Paris £0

Gothic Chimeras of the Cathedral of Notre Dame, Paris 51

Gothic Gargoyles of the Cathedral of Notre Dame, Paris, France 51

Durham Cathedral from the River, Durham, England 52

Westminster Abbey, London, England 52

Gateway, St. John’s College, Cambridge, England 53

Gateway, Trinity College, Cambridge, England 53

Doorway of “La Psalette,” Tours, France 56

Tower of “La Psalette,” Tours, France 56

Doorway of Chateau of Langeais, France 57

Courtyard of the Maison de Tristan I’Hermite, Tours, France 57

The Town Hall, Bruges, Belgium 58

The Church at Malines, Belgium 58

The Cathedral/of Toledo, Spain 59

The Puerta del Sol, Toledo, Spain 59

The Palace of the Doges, Venice, Italy 60

The Palazzo della Ca D’Oro, Venice, Italy 60

Courtyard of the Palazzo Farnese, Rome, Italy 61

Colonnade of the Vatican, Rome, Italy. 61

The Church of S. Maria della Salute, Venice, Italy 62

Doorway of the Library of the Cathedral of Sienna, Italy 63

The Entrance of Whitehall, London, England 68

St. Paul’s Cathedral, London, England 68

Classic Derivations in Modern American Bank Buildings (Two

Examples) 74

The New^York City Post Office 75

The New Harvard Law School, Cambridge, Mass 75

A Water Temple at Sunol, California 76

A Tea-House of Classic Design, on a Long Island (N. Y.) Country

Estate 76

The Marble Arch, Hyde Park, London, England 77

The Fogg Museum of Art, Cambridge, Mass 77

The Cour de Marbre, Palace of Versailles, France 78

Colonnade of the Louvre, Paris, France 78

The Central Pediment of the Louvre, Paris, France 79

The Petit Trianon, Versailles, France 79

The “Orangerie,” Bois du Boulogne, Paris, France 80

The ChMeau de Bagatelle, Bois du Boulogne, Paris, France 80

A French Classic Shop, New York City 81

A French Classic Publishing Building, New York City 81

Colonnade Row (La Grange Terrace), New York City 88

A Georgian Porch Detail (Modern), New Haven, Conn 89

A “Classic Revival” Porch, Baltimore, Md 89

Details from the Grand Palais des Champs Elysees, Paris, France

(Two views) 102

A Fifth Avenue Shop Front, in the Modern French (Beaux-Arts) Style 103 A New York City House Front in the Modern French (Beaux-Arts)

Style 104

Engaged Columns of the Main Facade of the New York Public Library 105 A Modern Church of Romanesque Derivation, Madison Square

Presbyterian Church, New York City 106

Trinity Church, Boston, Massachusetts 106

Drawing for the Porch of the Cathedral of Baltimore, Md 114

St. Thomas’ Church, New York City 115

Gothic Arched Entrance to Quadrangle, Graduate School, Princeton

University 122

Grotesques in the Gothic Manner 123

Rib-vaulted Vestibule, in the Gothic Style, Graduate School, Princeton University 123

The Provost’s Tower, University of Pennsylvania, Philadelphia 124

Chapel of the Military Academy at West Point. 125

The Wool worth Building, New York City 126

Details of the Woolworth Building, New York City (Four Views) 127

An American Country House of English Derivation 132

Detail: Garden I ront of an English-derived American Country House 133 Detail: Terrace and Sun-Dial, an English-derived American Country

House 134

Tudor Derivation in an American Country House 135

Old Half-Timber City Houses, Holborn, London 136

Half-timber Dormitory Building, Princeton, N. J 136

Heale House, Salisbury, England 137

An English Country House, Walton on Thames 140

English Derivation in an American Country House 141

American Country House of Composite Origin 141

Two Modern English Derivations in American Country Houses 142

Two English Derivations in Pennsylvania 143

A Typical English “Neighbourhood” Development 146

A Typical English Suburban House 146

Two Modern English Suburban Houses in Brick 147

Private Library Building, New York City 158

Detail: Private Library Building, New York City 159

Italian Renaissance Derivation in a Fifth Avenue Shop Front, New

York City 160

The Public Library of Boston, Massachusetts 160

Italian Renaissance Derivation in the Loggia of a Modern American

House 160

Italian Renaissance Derivation in a New York City Shop Front 161

A New York City Shop Front, with Sgraffito Decoration 161

Triple Arched Loggia (Italian Renaissance Derivation) in a New York

City Shop Front 161

Sgraffito Decoration (Italian Renaissance Derivation) in a New York

City Shop Front 161

An Italian Derivation in an American Country House, General View . . 164 An Italian Derivation in an American Country House, a Terrace Courtyard 165

An Italian Derivation in an American Country House, from a Loggia 166 An Italian Derivation in an American Country House, Wall Fountain 167

An Italian Derivation in an American Country House, Court 167

An Italian Derivation in an American Country House, Pool and

Pavilion 168

An Italian Villa Derivation, Front View 168

Patio at Pan-American Union Building, Washington, D. C 168

An Italian Villa Derivation, Garden Front 169

The Chateau de Langeais, France 169

Spanish-Italian Patio of a Modem American Residence in California. 170

Typical Spanish Buildings, Spain 170

Spanish Renaissance Derivation in Window Treatment in California. 171 Spanish Renaissance Details in an Office Building, Chicago, Illinois. . 171 An Early New England Dwelling of Gambrel Roof Type, Hadlyme,

Connecticut 174

A Typical Dutch Colonial Dwelling, at Hackensack, New Jersey. . . . 174 A Georgian Colonial Pediment Porch, with Palladian Window Above. . 175 A Georgian Derivation in the Porch of a Modern American Residence, Germantown, Pa 175

“ Wynnestay,” an Early Colonial Residence near Philadelphia 188

A Local Modern Derivation of the Early Pennsylvania Type of Colonial Residence 188

“Mt. Pleasant and its Dependencies,” Philadelphia 188

“Cliveden,” Philadelphia 188

Country House at Valley Forge, Pa., Derived from Early Local Prototypes 189

Country House of Local “Ledge Stone,” at Germantown, Pa 189

The State House, “Independence Hall,” Philadelphia 189

A Modern American Country House Derived from the Southern Type

of Plantation Dwelling 190

“Whitehall,” Anne Arundel County, Maryland 192

“The White House,” Washington, D. C ; : • • •

Two Examples of the Creole Plantation Villa, New Orleans, Louisiana 193

San Gabriel Mission, California ;••••.

Country House of Spanish Derivation, Sierra Madre, California 194

Four Views of a Modern Residence of Spanish Derivation, Typical of

Cahfornia

A Typical Recent American “Seaside Villa” of no Stylistic Derivation 196 A Typical Recent American Suburban Dwelling of the “Picturesque”

Type 196

Two Modern American Country House Developments . 197

The Style of the “American Secessionist” seen in a City Residence in

Grand Rapids, Michigan 198

An Example of the “Craftsman” Type of Country Dwelling 198

Japanese Influence in the California Bungalow 199

A Typical “Bungalow” of Native Redwood, California 199

Characteristic Design of School of the Austrian or Viennese “Secession ” 204

The “Art Nouveau,” in a Parisian Shop-front 204

Flemish Renaissance City Houses on the Rue Flamande, Bruges,

Belgium 208

Flemish Renaissance Derivation in a Modem New York City

Residence 208

Two Modern American City Residences, Typical of the Newer Developments 209

The Metropolitan Life Insurance Building, New York City 212

The Equitable Life Insurance Building, New, York City 212

The Hotel Vanderbilt, New York City 213

The Pennsylvania Railroad Station, New York City 220

The Grand Central Railroad Station, New York City 220

PART II

Successful Design for a Level Site 228

Successful Design for a Hillside Site 228

A Modern Country House Essentially American 229

A’ Small Cottage of Native Derivation 229

Simplicity and Charm in a Small English Cottage (2 views) 238

Two Typical Modern English “Detached Houses” 239

An Architect’s Preliminary Drawing for a Country House 244

The Country House as Actually Executed 244

A Preliminary Drawing for a Small Village Library 266

Reproduction (Reduced) of a 14-Inch Working Drawing of a House

Elevation 266

Reproduction (Reduced) of a 34-Inch Working Drawing of a House Floor-Plan 266

Reproduction (Actual Size) of a Portion of a J4-lnch Working Drawing of a House Elevation 267

Reproduction (Actual Size) of a Portion of a 1^-Inch Working Drawing of a House Floor-Plan 267

Reproduction (Actual Size) of a Portion of a 13^-Inch Scale Detail of

Tile Eaves 267

Reproduction (Actual Size) of a Portion of a Full-size Working Drawing of the Top of a Wainscot 268

An Architect’s Projet for a National Memorial Monument 272

The Possibilities of Building Materials seen in an^American Country

House near Chicago 276

Two Instances of the Decorative Importance of Texture 277

Use of Local Materials in Two Typical Modem American Dwellings

of Moderate Cost 278

An American Expression of the Modern English Country House 279

The Same House in Local Stone and Half-timber Construction 279

Good Relation of Design and Materials in a Large Country House

near Philadelphia 294

The Expression of Texture in Building Materials 295

The Use of Stucco as an Exterior Finish 295

A Modern American Country House of Actual Half-Timber Construction 298

Two Details of Door and Window Treatments 318

Two Typical Examples of the Modern English Country House 319

Modern American Real-Estate Houses 324

A Row of Houses in the “Model Village” of Letchworth, England. . . 324 The Application of Architecture to Utilitarian Buildings in a California Power-house (two views) 325

AN ILLUSTRATED TERMINOLOGY OF ARCHITECTURE

NOTE

Regardless of the extent to which any special subject may be treated for general reading, there must always be certain terms of a more or less technical nature, an understanding of which is essential even on the part of the general reader.

It is the intention, therefore, of the following seven pages to illustrate certain of the most common architectural terms. It is obvious that, in limited compass, it would be impossible to illustrate all special architectural terms, nor would it be necessary for the purpose of this book to do so.

This brief Illustrated Terminology,’^ then, is designed to acquaint the reader with the names of certain commonly seen architectural features, familiarity with which should be regarded as a part of everyone’s education.

In some cases the reader will be enabled to learn the architectural name for an often-noticed feature — will learn, for example, that the wall-space between two arches is called a spandril.” In other cases the reader will be enabled to identify some architectural feature the name but not the nature of which is known — will learn for example, by consulting the ‘‘Illustrated Terminology,” what is a “pediment.”

Egyptian Bell Capital. (Karnak.)

Egyptian Stalk Column. (Luxor.)

The Doric Order.

(Modern Version.)

The Corinthian Order — Column The Tuscan Order.

AND Pilaster. (or “Roman Doric.”)

(Modern Version.) (Modern Version.)

The Ionic Order.

(Modern Aversion.)

The Composite Order.

(Modern Version.)

« ENTABLAtV/?JE -

Volute

AcANTHVS ■POLIATION

TlLLET.ar

NECKINC

tLUTCX —

The Principal Parts of a Classic Entablature, Shown in a Modern Building.

JRusticated Masonry.

Stone Quoins IN Brick-work.

Rock-faced

Masonry.

Greek Key or Fret Motif.

Twisted Guilloche.

Louis XVI Guilloche.

COMMON ARCHITECTURAL MOTIFS OF CLASSIC ORIGIN.

Marquise.

Cartouche.

(Modern

French.)

Cartouche.

(Italian

Spandril Between Two Arches.

Spandril Decoration Of Masque And Figures, With Cartouche Over Arch.

Curved Pediment.

(With Cartouche.)

Angular Pediment. (Space within Pediment called the Tympanum.)

Cyma Pediment.

(With Flame Finial.)

Balusters.

Palladian Entrance.

Palladia N Window.

Corbels — Grotesque And Foliated, (Gothic.)

Console

Finial Urn.

Grotesque Corbels. (Brackets.) (Italian Renaissance.)

Dormer Window With Curved Pediment, in a Mansard Roof.

Fanlight Over a Door,

Linenfold

Panel.

Composite Pilaster Capital. (With Greek Fret.)

Roman Doric Pilaster Capital. (With Egg

(Successive ages have developed a great variety of capitals, though all are based on the original Classic Orders.)

Acanthus Modillion. /With Dentils Above.;

Console Key stone.

(The other stones in the arch are “Voussoirs.”)

Lantern.

Lunette.

Italian

"Arabesque.”

Spandril Decoration, Consisting Italian Renaissance OF “Attributes” of Art, Music Use of Column and AND Industry. Arch.

Roman Use of Column AND Arch.

Caryatid

Figure.

Terminal

Caryatid

Figure.

Terminal Spindles.

Figure. (After the Italian

PART I

A PRACTICAL GUIDE TO STYLES

THE NATURE OF ARCHITECTURE AND ITS PLACE AS PART OF A LIBERAL EDUCATION. THE VALUE AND BENEFIT OF ARCHITECTURAL APPRECIATION. ARCHITECTURE NOT A TECHNICAL SUBJECT. SOME FUNDAMENTALS OF ARCHITECTURE. UNDERSTANDING OF MODERN ARCHITECTURE DEPENDENT UPON ACQUAINTANCE WITH PAST HISTORIC STYLES

0 attempt to define architecture, or art, is to fall into the danger of dealing in catch-phrases. Few definitions are safe, and the best of them are more clever than accurate. Architecture has been called ‘ ‘ the art of building beautifully” which, perhaps, is as valuable as most epigrammatic definitions. The attempt has been made from the time of Vitruvius, and an early English writer, paraphrasing that classic authority, states that ^‘Well-building hath three conditions: Commodity, Firmness and Delight.” Perhaps it would be hard to find any terse characterisation so accurately applicable to all architecture — that a building should be appropriate to its use, strongly built, and pleasing to look upon. This interesting statement, however, could not be called, exactly, a definition of architecture, although it gives us a reasonably clear idea of the aim and purpose of architecture.

Taking any one of these three essentials alone as the aim of architecture, the world would have been, and

CHAPTER I ARCHITECTURE would be to-day, a heavy loser. Conceive first the aspect of architecture if ''Commodity” or the intended use of the building had been always its sole governing architectural factor. Grain elevators and factories are built primarily with a view to use, and include also the second essential of "Firmness,” but ignore the third.

The third, however, the building which has been so beautifully designed that it is a "Delight,” would be but a short-lived one if it were not firmly built, and a useless one if it served no purpose.

We must think of architecture, then, regardless of its divisions into domestic, monumental or ecclesiastical buildings, as a perfect co-relation of the three essentials of suitability, strength and beauty. In certain types of building one of these considerations, or two, may somewhat overbalance — each of the three may not hold equal importance. Generally speaking, however, architecture must take cognisance of all, and by keeping the three essentials constantly in mind in our individual consideration of any given building, we will establish from the outset a certain basis of universal application, regardless of "style” or any other detail. We will ask ourselves: "What kind of a building is this? What was its purpose? Does its design express this purpose? Is it well-built, or is its construction cheap and dishonest? Is it pleasing in its form and detail?” These are basic considerations of significance, entirely independent of whether it be designed in the style of the Italian Renaissance or Modern French ; whether we are looking at a church or a theatre.

It is an interesting circumstance that this country affords an opportunity to study adaptations — in many cases excellent adaptations — of the architectural styles of all countries and all periods. Architecturally, as

A TYPICAL AMERICAN DWELLING, OF THE STYLE ERRONEOUSLY CALLED “QUEEN ANNE”

Above and behind our most intimate architecture, as well as our more imposing buildings, looms the great background of architectural precedent and historic origin, full of an interest which should make itself felt to every intelligently observant person a

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well as racially, America has been the melting-pot. There has been no one style, because in this country we are not one people, but many — and there has been no typical American architecture, as a noted architect recently pointed out, because we have no typical climate in America, no typical landscape or no typical civilisation. This, however, is a question of ‘ ‘ style, ^ ’ to pursue which further at this point would be to depart from broad generalities.

At the outset it seems a part of this work to point out forcibly the importance of some degree of general understanding and appreciation of the broad principles of architecture. Many of us seldom come in contact with paintings, or sculpture, or other fine arts. We are not obliged to listen to music or to follow the drama. If we go out-doors, however, we cannot fail to see buildings everywhere — buildings good, bad and indifferent. Some are important, all are interesting in some particular. The unfortunate thing is that so many people see only buildings, and have never trained themselves to see architecture. The aspect of buildings, quite apart from any individual interests of the prospective builder, is so inseparably a part of our daily lives that it would seem highly desirable to develop at least a high-school course on the appreciation of architecture. Architecture is not a ‘^speciaP^ subject — it is a universal subject confronting us at every turn.

There was a time when a knowledge of architecture, together with the ^ ‘ Classics, ’ ’ formed an important part of the education of a gentleman. The stately and classical dignity of many of the fine old manor houses of the South was due more to the architectural education of their owners than to the taste of the master-builders. Thomas Jefferson made the actual drawings for 2

‘‘Monticello,’^ as well as for the buildings of the University of Virginia. He was not an architect, but architecture had been part of his education. To-day there are few men who, between business and social activities, would have time to draw the plans for their houses, even if they had the ability. The architect is better equipped for this work; but an architectural education, no matter how slight, would assure intelligent and effective understanding of the architect's work. To most people the architect's work is far more mysterious and incomprehensible than that of the lawyer or the doctor, while it should by all rights be readily and intelligently understood.

It is assumed that anyone about to build becomes, perforce, interested in architecture, but by reason of a late interest, and no personal basis of architectural conviction, he is obliged either to make a hasty and halfconsidered survey of the subject, or to accept the varied and usually conflicting architectural advices of his friends, many of whom are no better equipped in this direction than he. His very ignorance makes him suspicious that the architect may design for him a building which he will not like, whereas, had he any appreciation or understanding of architecture, he would be under no apprehensions.

In addition to the prospective builder, there is the much larger class comprised of those who probably never will build for themselves, or be called upon to exercise any architectural knowledge in so direct a manner. To these, however, no less than to the prospective builder, architecture should be an open book. Their walks abroad would become of abundant and varied interest, and every building would hold a story which they had never before been able to read.

Photograph by Julian Buckly

“THE BATTLE OF THE STYLES”

The great tower of the Woolworth Building, carried out in a free modernised rendering of Gothic architecture, is seen through the Classic-Renaissance colonnade of the New Y'ork Municipal Building, while a glimpse is also visible of the old Eighteenth Century Franco- Anglo-Classic New York City Hall

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Nor should allusion be omitted to the citizen wlio is called upon, as a member of a board, to pass judgment on the design of an important public building. It is unfortunate if a private house be bungled — calamitous in the case of a library or a city hall. In this connection we are impressed by the importance of architectural education as a civic obligation, as a duty to the community. Public money is being spent yearly throughout the country for the erection of important public buildings, yet architecturally ^ the public has never seen the buildings. It is by no means to be recommended, however, that public opinions on architecture be set up to overthrow professional opinions on architecture, excepting in the case of an incompetent ‘‘politicaP’ architect. It is rather the contention that public appreciation of architecture will result in securing better results through an understanding of what the architect is trying to do. The board may insist upon ruining the appearance of an important building in order to save a few thousand dollars, or may vote down the architect’s project for a splendid monumental « approach. If the members of the board, and the people themselves, were architecturally educated, the necessary funds would be forthcoming through public subscription. To appreciate the possibilities of a noble architectural idea is to desire its execution. In the second part of this book there will be attempted an introduction to that interesting, but unknown individual, the Architect.