New-York tribune., 1900-10-07

that occupied his mind. and he prepared pran.
and a model for modernized Greek -
and. at Mr.. HigginsOn's suggestion, consl,Its5
French and German authorities In F,urona -
the subject of the probable acousticaI u-ora-,f.a
But Mr.. Gericke and others were dubious % 80
outcome for the purposes which they had rooaf
in mind. and Mr. MCKim had regretfuUv ~
abandon his classical plan. 10 would have bean
experiment. and all concerned were anyior,.
to work the lines Of certainty as far "a -
could be done. Here came into play What NJ
Wallace c. Sabine, assistant professor OF phys-
les asserts are scientific determinations fn. Ia
mysterious realms OF acoustics. In 1895 M
Sabine had begun a series OF studies and pains.
taking experiments for the purpose OF ceterrnfn-
ing changes TO remedy the acoustical difficulties
which had rendered the lecture room OF ths
Fogg Art Museum inutile. These experiments
lasted two years. when permanent structural
changes were made. Almost Immediately "A.
terward," TO adopt Mr.. Sabine's own words n
became certain tina. the new Boston Music Han
would be erected, ard the questions arising tu
the consideration Of its plans forced a not IN
welcome continuance Of the general investigs,
ton" The ultimate results Of Mr Sabine's de-
examinations. which were adopted. will not dis
close themselves until the dedicatory meeting
is held but meanwhile it may be said that Mr.
Sabine has stoutly maintained that there was
no possibility of failure in his plans, and thai
all the tests made since the completion of ta
hall seem to verify his prediction to the letter.
Pictures are better than descriptions cl con-
vey an idea Of what a building is ike. and
few hints will suffice to explain the IIustra-
items given herewith. a photograph OF the ez-
terror of the hall was published in The Tribuns
of August u 1t is an admirably proEor-ioned
structure OF hard, dark brick. with stone trim
mfngs The style is North italian. S-atelb
ness dignity, strength, chastity, reposefu-ness
are its characteristics. Wide corridors and a
commodious lobby surround the audience room
on three sides. Fireproof material has been
used throughout, only the furniture, floors, doors
and organ being infammabIe. Let The Boston
Evening Transcript" tell US Of the appearances
OF the interior:
The interest of the auditorium depends almost
entirely upon its inherent architectural IuaH
ties, and not on its painted ornament It's pro
portions differ only slightly from those OF the
old Music Hall. The scheme Of color for the
interior is calculated wisely for artificial light
ing and it is composed of several tones Of gray
running from cold to warm, with much gliding
and. for the lower part OF the wall. under ths
first balcony, a brilliant, solid red, in effect 8
crimson, with crimson plush tops for the bah
cOny ratings. The ceiling is heavily coffered
and it's appearance is enriched by the perfOra-
tions in many OF the panels. The organ case Is
designed in harmony with and as organic part
of the architectural ensemble The organ pipes
are sodly gilded. and above them gracefuuy
designed grill connects them with the Uppes
wall. In general arrangement the auditorium 3
distinctly planned for the symphony Orchestas
use and every detail is calculated for that pur~
pose. An interesting feature Of the hRu 8
the arrangement by which the auditorium s.
protected from outside noises b. being con1-
pletely surrounded by a system OF wide CORR
dCrs and foyers. The lighting is very success
ful and agreeable, the lamps being so placed ss
to provide plenty OF light without shining q
the eyes Of the audience. The grouping OF the
incandescent lamps could not be improved upds1
being as simple possible The seats are -
holstered In sage green leather. Most OF a.
e