The herald., 1896-10-18

permanent shadows, such as one sees in
this entire ornamentation, is the inven-
ton of Mr.. Bourgeois, and adds much to
the life of the modelling. There is no
such thing as filling up this ornamental
ton by dust, as the depth and spaces
would preclude that possibility. Be
sides, this indescribable cOrnice sofht,
the frieze is an interesting piece of or
namentation, picturing the foliage with
the movement and criSpneSS of life in
plants, artistically interrupted by the
elliptic openings that are cunningly in
troduced there for ventilation purposes.
The fiat roof in q warm climate rem
ders the upper rooms uncomfortably
warm. Here these details have been
studied, and the Introduction of space
between the ceiling and roof. with ap-
propriate ventilation, Is the result. And
as to the artistic effect Of these ventila-
ors, the combination could only be de-
vised by an architect of unusual abil-
ity. who can combine art with practical
work.
The most charming effect in this artis-
tic construction is certainly found in
the beautiful balconies introduced in the
upper story. There one finds the cosy
feeling of the Spanish composition, and
it is very appropriate in this, the Italy
of America Around those balconies the
sunlight glints and chases the arching
shadows in brave imitation of the
shades, which in the embrasures of AL
hambra walls yelled the delicate beauty
of fair women. 1t is in the decoration
of these balconies that Mr.. Bourgeois
new art of decoration is shown to it's
highest advantage. The tracery of the
balcony arch, as well as the soffit and
capitol represents a trellis of an exceed
ingly original design, supporting the
natural foliage growing through it. No
rnin fI1ra nf nn;t IL -.
mate matter could be depicted
The entrance harmonizes perfectly
with the originality of the above struc
ture. In details and pictures of strength
and as a piece of decoration, there is moi
any structure in America which BET
ter combines voluptuousness with orig
inality and good taste.
The beautiful entrance, If taken ir
detail, can not be classified with any
architecture known. Certainly the arch
is Roman. but the application of the
arch in this case is new departure
in the art line of architecture. The dec
orations can only be classed as Bur-
geois orramentation. His school is chs
school of nature, where all true artist;
find their inspiration. The pilasters sus
tanning the arch show the same kind Of
originality even more marked, as IN
neither Roman, Greek nor renaissance
can we find that shape of plaster. The,
represent certainly better than any 81
those, strength, combined with dell
cacy. Here the solid building materia
has become plastic in the hands of this
artist architect, and he has modelei
away the Haunting vulgarity of new
ness, giving us representation of time
| worn but unconquerable material witt
| the appearance of crevices that leave
| passages through which the foliated
! plants send forth their sturdy. wander
| ing shoots. In gazing on this buildins
! our memory reverts to the aged class tt
| structures whose insensate walls are
awakened to perpetual life by the dec.
| Grating moss and ivy.
We consider this building and everS
| connoisseur of art will agree with US
| as the most original and poetic buildins
| we have In this city. The architect de.
| serves encouragement and in the
| growth of a new city such as ours. hi.
| genius, we hope, has found it's field n
| creation. Beautiful architecture is tn,
picture of highly developed intellec.
and is always the history OF refined
| people. AS every one who has Travelled
| and studied knows Nat the Greeks
whom we consider as our model in liter
ature as we'll as in their art, have i'm
| pressed themselves on the world through
| their monuments. 1t Is what every com
| percial community forgets too often
and it is to be hoped that all lovers .
art will encourage this new art Of dec