New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-06-12

a country being made over, civlliza,
tion affirming itself, and If one had
no data to go by save the figures art
lessly straying into the snapshots one
would still feel sure that the new, dis
placing the old, was carrying happiness
In it's train. | make no apology Tor
this excursion into matters having
nothing to do with art criticism. In
the Philippine building one forgets
all about art criticism and Is merely
proud of his countrymen.
The French lead among the buildings
erected by foreigners and they do so
by the process, at which have already
glanced. Of trusting to an old prece,,
dent. Their model is the celebrated
Hotel de Salm, that palace on the SEINE
which is the home of the Legion
d'Honneur. Pierre Rousseau designed
it. late in the eighteenth century, and
invested it with the refined grace OF
his period. Students OF the architect
ure of Paris will recall more particu-
larly the charm of the facade. on the
river-the swelling bay, the low but
sufficiently aerial dome, and the busts
in their circular inches just above the
tall windows. But the wh)le impress
sion left by this little masterpiece is
one of light distinction. OF classical
dignity carried off as by some witty
mar Of the world. The building at the
fair falls short of that exquisite, mum
dane felicity, but il is still a brilliant
AMI charming thing. 1t is clearly an
official" building. France, however,
knows how TO be academic without be-
ing dull. Her formality in this in
stance is delightfully."- urbane, and when
| last saw the building the tapestries,
furniture, porcelains and other objects
which were Being organized IN the
spacious rooms promised to make II as
Enthusiastically artistic inside as
out.
OF the interior of the Italian pavlllon
or pavilions-l could get no idea,
for the work there was only in its pre-
liminary stages. Outside the scheme
falls between two stools. The purpose
appears TO have been the illustration
Of different periods Of Italian archi-
lecture in q series of comparatively
small buildings linked together by
courts and cloisters. This sacrifices
unity and at the same time fails 10
give all the different episodes IN the
design their full value. 1t is a case oil
architecture and Suggesting trying
10 collaborate but in the long run de-
| feating one another. | regret IL tne
more becau.. there are moments IN
this Italian scene. il may so designate
little pictorial effects embracing a
staircase, a loggis, or some such matter
which are so many insinuatlng APP
peals to the Imagination. IL only
there had been some master OF con /,
structive art to pull the disordered
fraoparts toCether'
Sweden crowns her widespread
farm-like pavilion with tower whlch
if not at all lovely is at any rate ehar-
aoteristic Of the country and therefore
Of certain educational interest. NOT
way. too. is true to its indigenous
traits and houses itself in castle.
/ Like the Swedish pavilion, tnis IS
picturesque and wins the eye without
giving il any very lasting satisfaction
| The pavilion of the Netherlands; eul'
minsting in a big dome around the
base Of which some ten or twelve sniai,
Ter ones are nestled, faunts also =
multitude of Aagpoles. Motives OF
style from both the past and the p'eS'