Evening star., 1900-04-24
THE MEMORIAL BRIDGE DESIGN.
A Criticism of the Bascule Towers ani
Arches of the Accepted Plan.

A Criticism of the Bascule Towers and
Arches of the Accepted Plan.
To the Editor of The Evening Star:
A friend in Washington, knowing that
have taken a lively interest in the pro-
posed memorial bridge across the Potomac
has sent me a copy of The Evening Star
containing a description and illustration OF
the accepted design for this bridge May
be permitted to make few remarks on the
design recommended by the board of engi
neers and architects and indo:sed by the
Secretary of War?
The result of the competition from an ar
tistic standpoint Is disappointing, for II
seems a grave mistake in the design to
place the most important and purely monu
mental feature of the composition where II
cannot be fairly studied. The view, as
shown in the illustration, of the triumpha
arches spanning the roadway can only De
had from a boat in the river or from a fly
ing machine of the future, but never by one
approaching it from either end of the bridge
The memorial arches can only be seen from
the front as you approach the center of the
bridge after you have walked nearly third
of d mile across the bridge in order to ge;
a good view. If you stop in front of the
arches to study the memorial it Is at the
risk of being jostled by the passing crowd
on the narrow sidewalk, or run over by We
hicles. trolley cars. automobiles, &c, If you
step into the roadway, SO that you are not
III just lHe proper frame Oh nina 10 aDpre-
ciate the beauties Of architecture while look
ing out for your own safety.
Then. it is unfortunate to combine so util-
itarian device as bascule draw-span with
what should only embody a purely monu-
mental idea. If the top of the great prya-
mid or the capstone of the Washington mon-
ument could be contrived, by a clever bas-
cule or other engineering device, so as tn
open and shut like the lid of an inkstand
the monumental character would be de-
stroyed; for the impression of stability
which is the first requisite of a monument,
would be entirely lost The fact is that the
two memorial arches are only devices to
conceal the working Of the bascule draw
span: they look like two accompiices, with
their backs to the public endeavoring to
hide what they are ashamed to frankly ac-
knowledge. The bascule tower bridge re-
Gently built across the Thames in London,
which evidently suggested this one. was de-
signed with more regard for the eternal fit
ness of things, for it frankly acknowledges
its purpose and does not attempt to make
pseudo triumphal arches do duty screens
for an engineering device When these
semi-arches are opened to permit a vessel
to pass through shower of mud dust and
ordure would be thrown by the wind over
the delicate carving and sculpture of the
memorials. thus depreciating the work of
the artists
If Washington is bent on having a memo
rial arch embodied in the design of the
bridge, why not do as the Romans did, and
roll the two insignificant arches into one
noble one, and place it at the approach to
the bridge on the Washington side in the
center of wide plaza or esplanade. so that
there would be verge and scope enough to
fairly view its towering dignity? But
why should great thoroughfare, as this is
destined in time to become. be encountered
with memorial arch? Two great piers,
decorated with sculpture. mark the entrance
to the Alexander III bridge across the Seine
at Paris, which is intended to commemorate
the Russian alliance.
AS to the design of the bridge itself it
lacks simplicity: the arches are of all
widths. from 60 feet to 1872 feet; and all
shapes-semi-circuIar, segmental, and a
steel imitation segmental arch for the bas-
cule or draw-span. Although the adopted
design is the joint work of an engineer and
an architect, 1t is evident that architecture
has been the servant, instead of the mis-
tress, of engineering
Had the Secretary of War invited four
architects, as well as four engineers to sub
init designs, according them the privilege of
assoc1ating an engineer with each architect.
IN the same manner as the engineers who
were invited called in architects to assist
them / am confident that the result would
have been more of an artistic success. and
would not be wanting In engineering skill.
AS the matter stands now the wrong note
has been struck in this composition.
GEORGE KELLER.
Hartford, Conn.