New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-02-13

=. show sbounds in echoes Of the
a. Francisco exhibition, point max
'-, . peculiarly sympathetic TO the
...-,sseur O. buildings. That was a
,,s.,rlv achievement. site and scale
80. eur architects the opportunity o.
= s,och. and they rose 20 10 with gen
-. Inspiration. There are souvenirs
is-s ~ Nr. Bscon's eXQUisitely classl-
81 Court o. the Four Seasons, Of Mr..
y,,bsek's rich Roman Palace of the
III, Arts. Of Nr. Mullgardt's romantic
r..rt Of Abundance, of Nckim, Mead
1 Whites stately Column OF Prog
,.ss We have extensively traversed
.is- before and need not repeat the
s,lvsis Of that fusion Of individuality
viii one great monumental purpose
-ii,h made the beauty OF the fair.
Vsr is IL necessary 20 characterize
srs;n the wors of the sculptors, repre-
,.r,ed on this occasion by numerous
-srro6uctiors in plaster and by photo
rrschs. Bur 50 s. impossible 20 ignore
~ subject q, large. The fair is gone;
Ire thing that remains is a deepened
,s,ss Of the vitality Of American archi-
.sc,ure. We may not have an idlom
q our owr but how Supcrbly we can
%. the idioms a. the past.
This is the reflection also provoked
t7 the principal design Of present in
arrest in the exhibition, Mr. Goodhue..s
model for the new 81. Bartholomew
C..rch, 90 be erected a. Park Avenue
and Fiftieth Street. He received ms
,.s iron the beautiful portal designed
by Y,Eir. Mead & White. which has
',-r she'd distinction upon the old edi-
su That is 20 be preserved IN the
rsz one. and from 10 flows, OF course,
re rs,sssitv of q RomauesCue motive
.lo-g,out. But the architect has gone
90 lnsn rather than 20 Proyencai
.osrce il lis inspiration, and. what
IS nore 70 the point. he has used them
With originality. The photograph OF
..s model which we reproduce enables
Is 20 dispense with description Of the
fabric and 90 speak simply Of ITS broad
c.srsc,er lt is an organic compost
.0r The facades are exactly express
.ys o. the plan And their successive
stages are united with a fine sense OF
proportion. fine sense OF architectural
ysles. Let the reader explore one by
one the different passages in the de-
g, the relation Of the portal 70 the
lave and that OF both TO the dome, the
placing Of the columns and arches Just
below the roof line, the adjustment OF
ne chapel and Sunday school building
@, The street SIDE 20 the mass OF the
-tll structure. These latter episodes,
q is true, constitute stubborn elements
(, tie problem. and we could wlsh
hen otherwise But since they have
q Be there, they are remarkably well
landed. Consider. finally, the erect
q the whole, the warm picturesqueness
q the conception, combined with us
ESSENTIALLY MASSEY character, and the /
'ca play Of light and shade secured
',s qualities Of relief. of texture, de
s.oped without fussiness. Il is Ro- .
ri.esque, yes, but is IL so with any .
rp.ications Of pedantic borrowing
ne design IS large and free; IN the /
-pression o. living architecture that /
conveys it makes US think OF that /
mel fine example Of style individually 4
Iploted, that Westminster cathedral /
Etieh was founded on Byzantine ideas b
'.i embodies the genius Of a modern F..
artist.
This church IS so good as it stands
tai We hope g may be built along GER /
81 lines promising 90 give II even /
rssier significance. A shown in the .
locel, Il vii. occupy only part Of the .
foperty owned 5y 81. Bartholomew S, I
's rest Of the block on Park Avenue +
eng given 20 some other structure,
SECULAR building. which would, OF course .
IoEd 10 on the north and even, pos
wv rise 70 height greater than that
" me nave. We have seen drawing
so'sed out or the hypothesis Of en-
goylng Gil the space from street 20
Meet, and il raises noble scheme 10
e even higher power Incidentally, II
Nghens the nave, giving It another
az which is by itself a precious I'M
ti.y'sment and 10 permits more salts,
ae'ory disposition Of the chapel ana
...l,eay school bringing IN cloisters5
' open. turfed spaces, which would
-nediately set the whole affair IN a
'''si perspective II would be pro-
..iciy comforting thing II this larger
I'VE monumental, plan could be
.-pied. A building like this needs all
a.
.'Noed, it would make one of the
N impre itc adornments OF the
~ A decision 90 that end will be
.s'ed with soicitude by all who are
crested Soc the architectural develop F.,
-,,' OF New York.
.as other single contribution OF a
...,.'nental order is Mr. Bosworth's
49,. scheme for the Massachusetts In
....'use Of Technology. The length OF
oesign, 90 proportion 10 its height
- ~.''niles somewhat the imposing nat
a. u The architects idea. He seems
''-9lsrly rather than powerful. But II
Iportant lu the observation OF a
80 IKE this 20 remember the dis
4 g..y incident 90 study Of II on paper.
s,s.Ne use Of the Imagination helps 20 |
,,IoIiee The suggestion Of serene beauty
=. va must belong 20 the actual build
~. Nr Cas- Gilbert, 20 whom the
60 OF honor in architecture has
,,N awarded, more especially, We
fs,.'' Tor the Woolworth Building, Is
s''sented by diversified group Of
s,ir uesigns. The bulk of the latter
A.. hfow into sharper relief the char
in !. The Noolworth Building as q
c,,t VI tour dc force. In spite of its /
..o, Traits 10 does not carry convic- /
WI. l" an Affirmation Of architectural /
,ss,. Scale rather than design is re-
,s.s ''oIe Tor us delightful picturesque 1
n HE personality Of the architect |
,uiiS1'e clearly reflected in the various /.
h NY. w.. buildings he exhibits, classical
sir,SiNNe, often admirably weighty, ad- |
iit,l. balanced, and on the whole
ru,, .caoemic. One can imagine the :
VI emotion out Of which the Wool