Part 20

To McKim, Mead & White, of New York, we are greatly indebted for their influence upon secular architecture, and their Casino at Newport, built in 1880, was probably more far-reaching in its effect upon country houses than any other building at that time. Among the other work from their office may be mentioned the Boston Public Library, the Madison Square Garden (reproducing in its tower the Giralda of Seville), the Library and other buildings for Columbia College, the Metropolitan and University Clubs, the Agricultural Building (of staff) in Chicago in 1893, now being reproduced in marble for the Brooklyn Institute, the Tiffany, the Villard, and other city houses, and a host of country houses at Newport, Lenox, and elsewhere.

There is another architect whose talents should be acknowledged; for about 1880, when the shingle house had just begun to take shape, there was none more clever at that sort of thing than W. R. Emerson, of Boston, and his resources seemed endless in harmonizing form and color with conditions of seashore or mountain, as shown in his houses at Bar Harbor, Milton, Newport, and many other summer resorts.

Philadelphia, which had hitherto always been extremely conservative in architecture, soon began to erect some of the most singular and fantastic structures that could well be imagined; but fortunately the refined simplicity and fertile originality of such men as Wilson Eyre, Frank Miles Day & Bro., and Cope & Stewardson have prevailed, and in both city and suburban work they and certain others have done and are doing much to counterbalance the character of the eccentricities of their predecessors, as shown in buildings for the University of Pennsylvania and the Academy of Arts and Sciences.

But the restless activity of Eastern loom and machine shop, and of Western farm and mine, seemed to meet and concentrate in Chicago—the _entrepôt_ for the raw material of the West and the finished product of the East. The unprecedented increase in value of land, the low price of iron and steel, with the introduction of high-speed elevators, combined to develop a new type of sky-scraper; and as the nature of the soil was entirely unlike that of other cities, the foundations of these buildings presented problems which were solved by Chicago architects in various ways hitherto untried. The Rookery by Burnham & Root, Pullman Building by S. S. Beman, and the Auditorium (opera house, hotel, and office building in one) by Adler & Sullivan, at the time of their completion were most notable examples of architectural engineering, and were soon followed by many others more or less similar, designed by W. L. B. Jenny, Holabird & Roche, Henry Ives Cobb, and others. The buildings for the Chicago University, the Athletic Club, and Newbury Library, by the last-named architect, show a high degree of ability; the peculiarly rich arabesque ornamentation designed by Louis H. Sullivan, and the direct and rational handling of the buildings upon which it was used, are certainly indicative of the spirit of enthusiasm and conscientiousness of a well-trained mind. It is by such characteristics that John W. Root was able to accomplish so much for the advancement of architecture in the West.

What Krupp and Stumm had done for the employees in their works in Germany, Pullman determined to do for his men and their families here; and a town, with dwellings, schools, churches, water-works, etc., for many thousand inhabitants was designed and built by S. S. Beman, which has been reported by experts to be the best of its kind.

In Chicago, in 1893, was held our second international Exposition; and that the exhibits should be suitably housed, some of the most prominent architects of the country were called together, buildings were assigned to each of them, and Frederick Law Olmsted was appointed to lay out the grounds, waterways, and bridges.

[Illustration: TRINITY CHURCH, BOSTON.]

Except for the difference in material, never did Rome in the days of Augustan magnificence show buildings similar to those grouped about the Court of Honor. A Greek would surely have been proud to walk through the Peristyle, or to have visited the Art Galleries, and a Roman to have sauntered about the Terminal Station or the triumphal arches of the Manufactures Building. Right nobly was the Spanish aid to Columbus acknowledged in the design of Machinery Hall; but to France, whose generosity had trained so many of our architects, sculptors, and painters to do such things, was the greatest triumph in the unanimity with which they had all worked and the success which crowned their labors.

The building occupied by the Federal Government was one of the few unworthy of its location or of the occasion. While the architecture of the people had been advancing steadily for fifty years, that provided by the Treasury Department in Washington had been quite as steadily retrograding. The Custom House, Boston; Sub-Treasury, New York; the Mint, in Philadelphia; the Treasury, Post Office, and Interior Department buildings, in Washington, have stood almost alone since the middle of the century. The few Gothic buildings referred to previously were honest and intelligent attempts to improve the quality of design for the government, but the politicians decided that artistic ability was not a prerequisite for the office of Supervising Architect.

Since 1895, there has been some infusion of new life into the designing-room, and such work as the designs by William Martin Aiken, for the Buffalo and San Francisco Post Offices and Court Houses, the Denver and the Philadelphia Mints, and the New London Post Office, were about being materialized, when once again the politicians, who cared not a whit for one design more than another, interfered to oblige the government contractor. But the good seed had been planted, and the work of the present incumbent, James Knox Taylor, is likely to show a marked advance over that of many previous years.

[Illustration: THE AMERICAN SURETY COMPANY’S BUILDING, NEW YORK.]

The general scheme of the Congressional Library was conceived by Smithmeyer & Pelz, the details carried out subsequently by General Casey and his able assistants and successors, and the building opened to the public in 1896. The experiment of the collaboration of sculptor and painter with the architect had resulted so favorably in Chicago, that the artists invited to decorate this building gladly responded; and although the remuneration was inconsiderable, their loyalty to the country, as to Art, resulted in such mural decoration as had not been seen since W. M. Hunt decorated the Senate Chamber in Albany, or La Farge did the figures in Trinity Church, Boston, and St. Thomas Church, New York. Blashfield’s dome, typifying all the nations of the earth; Vedder’s Minerva, in mosaic; H. O. Walker’s large lunettes, illustrating English poems, and Simmons’ small lunettes, filled with exquisite little figures, are but a few of the many interesting works in color. Two of the main entrance doors of bronze were modeled by Olin L. Warner, but he did not live to complete them. The marble stairway is by Martini, and the statues which adorn the main reading-room are by Adams, Bartlett, Partridge, Ward, and others.

The plan of the building is that of a central octagon containing the general reading-room, connected by wings containing the book-stacks with a surrounding hollow square containing rooms for special collections. There are ample reading-rooms for representatives, senators, and the public, and a tunnel by which books are sent to the Capitol. This is the last building of considerable importance constructed by the government, and it was built on time and within the appropriation of $6,000,000; it may be said to be dignified and suitable to its purpose, and to be representative of the people at the close of the century.

It now seems probable that New York will build the handsome library designed by Carrère & Hastings; the Egyptian lines of the reservoir occupying the site—emphasized by the varying hues of the ivy for so many seasons—will give place to those of an example of modern French Renaissance.

Among the changes incidental to the growth of this city is the recent disappearance of the old Tombs prison, which was another building of Egyptian architecture, good of its kind, and quite dignified and impressive.

There are certain other buildings designed in the style of a country almost as tropical as Egypt, and as light and airy as that is sombre and gloomy, but which seem quite as appropriate for their different purposes: they are the Casino Theatre and the Synagogue at Fifth Avenue and Forty-third Street,—each an excellent example of Saracenic architecture,—the former of brick and terra cotta, and the latter of vari-colored sandstones. Another synagogue, by Brunner & Tryon, further up the avenue and facing Central Park, has a decided Byzantine flavor,—the large arch accentuating the entrance, carrying a small arcade, and being surmounted by the traceried dome.

The largest and most expensively elaborate hotel in America is the Waldorf-Astoria; and although certain features of the exterior may not be justified by interior arrangements, it has certainly been planned with a view to great comfort and luxury.

While New York has the largest and most expensive private residences,— the chief of these is that of Cornelius Vanderbilt,—Philadelphia has the greatest number of small houses owned by their occupants; and of late years, there are a greater number of attractive homes in St. Louis than anywhere else in this country. Very many of them have been designed by Eames & Young, or by Shepley, Rutan & Coolidge; and with much open space about them, they have an air of elegance and hospitality that is lacking to the homes in most other cities.

New York, from its position as the commercial and financial centre of the country, in spite of its situation on a long, narrow island, may be accepted as the typical city. What is done here architecturally is done (only to a different degree) elsewhere, and its growth horizontally in the northern portion of the city has kept pace with its perpendicular growth in the more congested business portion. This general expansion has altogether changed the character of many streets, the residences becoming apartment houses, and the shops becoming office buildings from ten to twenty stories,—or even more,—the masses becoming larger and the detail proportionately less prominent.

The sky-line has entirely changed; the spire of Trinity is lost in such surroundings as the Bowling Green, Empire, Washington Life, and American Surety buildings, and in the vicinity where the Tribune tower was once conspicuous, now the St. Paul Building rises twenty-five stories, and the Ives Syndicate Building even higher; further and further up Broadway, and to the right and left of it, these monster buildings continue to rise. But among them all there is not one which shows a more masterly handling of the problem than the Surety, where the architect, Bruce Price, has emphasized the entrance with a colonnade and six figures of much dignity and grace, and has concentrated the ornament about the upper part of the building, crowning it with a fine cornice, which is more effective from the simplicity of the four walls beneath. This building holds its own among such others as the Washington Life and St. James buildings, New York, or the Ames Building, Boston, Harrison Building, Philadelphia, Schiller Theatre, Chicago, Wainwright Building, St. Louis, or Examiner Building, San Francisco.

It is impossible, in so brief a survey of the field, to enumerate more than a very small fraction of the buildings illustrating the progress of the architecture of the century; and aside from the residences, apartments, and hotels where we live winter or summer, and commercial buildings in which our working hours may be occupied, there are very many examples of churches, schools, colleges, libraries, and museums, donated, equipped, and endowed for our instruction, theatres and music halls for our entertain