New-York tribune., 1922-01-01

then, IN heroic terms, i'll big, inclusive
principles. His genius found a natural
outlet in the majestic schemes flowing
from the renaissance of architectural
taste III this country, in the beautif-
cation which is worked out over q
whole city as we'll as IN this or that
Individual building.
Mr.. Moore takes up one by one the
several imperial movements from which
burnham's name is inalienable. the
movement for the improvement Of
Washington, the similar plans for
Cleveland, Chicago and San Francisco.
the betterment Of Manila and so on.
lie had chapters on the Washington
Cathedral and on the American Acad
emy in Rome, subjects in which We
see burnham not as the designer but
the advisor. In that role he waa OF
service to his time, because he had
knowledge, architectural ability and.
besides, a fund Of superb enthusiasm.
There are letters and diaries quoted
IN these volumes and in notes by the
author We are still further wa!e to
feel the force and attractiveN<ss OF
Burnham's personality. Many of the
excellent plates, and particularly these
which represent the city planner, are
printed in colors. They form an un-
commonly good background for the
onsIderation of the architect and the
man One grasps from them not ALWAYS
what he actually saw produced as the
work of lis hands but the visions Of
his fertile, essentially masculine brain.
ihere was never anything petty in him.
lherc was never anything petty about
his architectural conceptions. These
have the bulk, the spendor of ancient
Rome. Mr.. Moore brings home TO us
the familiar delightful qualities Of his
friend. But he has performed his best
service for that friend in making plain
the lofty nature of his art
Of all contemporary commentators
on architecture Mr. Reginald Blom-
held IS perhaps the most agreeable,
the one most skillful in making his !
theme altogether sympathetic. The
History of French Architecture. 1891
1861 which he published ten years
ago, affirmed his unusual abilities
as writer; end now in carrying
the subject down to the closing dec
AIDES of the eighteenth century he
moro than confirms former impress
sions. His aim is large. Il have en-
deavored," he says, ''to trace the origin,
development and decline of the old |
French tradition of neo-classic archi-
lecture d chapter in the history of
art scarcely less important than the
Italian Renaissance ITSELF 1t is easy
to conceive Of what an academic writer
would have made of the task. We
would lot have been able to see the
wood on account of the trees. Mr.
Bloomfield unfolds his material in a
clarity positively French.
The volumes are packed with fine
perfect reproductions
from the engravings Of the period
With this aid Mr. Bloomfield vsualizes
for US prodigious pageant, long
succession of buildings proceeding
through iiaw!ess refinement and bal
ance TO phase less pure, less creative.
And from this spectacle he causes to
emerge with impressive realism the
men who lie behind the tradition. the
style. His sketches are animated and
substantial. Lady Dilke's charming
notes were welcome, but Mr.. Bloomfield
gives US more than notes, and incden
tally, he draws up far more luminous
and convincing perspective. Old names,
many Of them utterly obscure save for
the specialist, the names Of LIE Vau,
Richer, Lambert and Blondel take on .
a new life n his pages. He commemo-
rates Claude Perrault Bruant, Man
sart, Servandoni and both the Gabriels (
with the vivlfying power OF a biog
rainier to whom architecture spells, in (
a very personal sense, architects. One I
oe his anest chapters is that devoted
- II master &C gardens. To Norte