The Craftsman - 1905 - 10 - October.pdf

7/27/2019 The Craftsman - 1905 - 10 - October.pdf

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REV. SAMUEL R. CALTHROP, L. H. D.



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SAMUEL ROBERT CALTHROP, L. H. D., THEMAN: TEACHER, WRITER AND SCIENTISTRich in saving common sense,

And, as the greatest only are,In his simplicity sublime.

HE story of a mans life, nobly lived, is written on thehearts and treasured in the memories of his fellow men,and cannot be told in any record save the great Book ofLife.For nearly fourscore years the subject of this sketch,Samuel Robert Calthrop, has found life worth living,-for others. In the spiritual economy of the universe, (above thesmoke and stir of this dim spot which men call earth, the inspirationof such a life lives on to cheer and bless, not only his own generation,

but as an abiding influence for noble usefulness to generations yet un-born. In this brief outline of Dr. Calthrops well-spent years, thesole purpose is to present a few pen-pictures of the man in his every-day life among his fellow men, from youth to age. Outside of theduties of his long, active and vigorous career in his chosen professionas pastor and preacher, he has found time and strength for helpfulnessin many practical activities, and for ripe scholarship in the sciences,including special attainment in astronomy and keen research in thefield of evolution. American college athletes owe much to him, andmany will here learn for the first time the importance of his influence,in shaping athletic sports in this country, in the training of the earlyboat crews of Harvard, Yale, Cornell and Syracuse, and in coachingthe West Point cadets in the English game of cricket.

Called to lecture at Harvard, as early as 185 I, while walking outone day, he found the students playing cricket in the same old stylecurrent in the days of Charles I. Hello, fellows, he called out,Why dont you play cricket in the modern way? They clusteredaround him as he drew a cricket ball out of his pocket, and, sendingfor some bats which he had in his trunk, he set them at work. Alex-ander Agassiz, son of the great scientist, was one of the most enthusias-tic of the players and soon became the best bowler of the team. Afterhe had played with them for a fortnight, nearly every student in theuniversity knew the enthusiastic young Englishman, and it becameknown that he was an expert oarsman as well as a cricketer. TheHarvard crew was in training for a race with Yale, and invited his

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SAMUEL ROBERT CALTHROP, L. H. D.lose your stroke. Now take your time to-morrow, get ready, andthen pull all together on an even keel. Never mind Harvard, takecare of yourselves. And I suggested that they go out and practice inthe morning, which they did, wobbling their boat, getting ready atthe word and pulling half a dozen strokes, and then stopping. Theycarried out these suggestions in the race and beat Harvard by aminute. The Harvard crew then asked permission to try the Yaleboat. They rowed over the course and made it in a minute less thanthe Yale time.As to Cornell, that came about in this way. I had given a courseof lectures on athletics at the university. Some time after, therecame to me a delegate from the students at Cornell, who wished tohave a boat club, but knew nothing about rowing. They wanted torace with Yale and Harvard, and asked me to train them. Idemurred, for that would have necessitated my living at Ithaca, butoffered, instead, to teach the delegate to row correctly, fitting him togo back and train the others. So I taught him the secrets necessaryfor an oarsman to know. He was an apt pupil, eventually becomingknown as the expert oarsman Ostrom, and he trained his own men sowell that Cornell won at Saratoga. Here at Syracuse, five or sixyears ago, the university boys came to me with a request that I traintheir first raw crew. So you see I have had quite a hand in the devel-opment of college boating crews during the last half century.W TH a revival of the patriotic enthusiasm of youth, Dr.Calthrop recalled his drilling of a company of young vol-unteers at Marblehead, Mass., in the early years of theCivil War, and his offer of their services and his own to GovernorAndrews. Strange as it may seem in the light of subsequent events,Governor Andrews informed him that he had received strict ordersfrom Washington to take no more men at that time. Continuing,Dr. Calthrop said: I told the Governor, who was a great friend ofmine, We are not ready to go to war yet. What the country needs istraining camps. Massachusetts ought to have twenty-five thousandmen in camp; New York a hundred thousand, and so on. Then,when soldiers are needed, call upon these men who have been prop-erly trained. My idea was that a few men such as those I had trainedwould have had a wonderfully good influence on the army as a whole.

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SAMUEL ROBERT CALTHROP, L. H. D.They were all well-developed athletes, and would have made a mar-vellously strong rush line. We could have helped to train anddevelop others, for in those early days there were few really well-developed soldiers in the army. In spite of this apparent failure,Dr. Calthrop continued, with unabated zeal, his practical devotionto the cause in fellowship with those leaders of thought, the great warGovernor, John A. Andrews, Charles Sumner, Henry Wilson, Wil-liam Lloyd Garrison, Wendell Phillips, Edward Everett Hale,James Freeman Clarke and many others whose names have becomehistory, including the Rev. Samuel May, to whose pastorate in Syra-cuse Dr. Calthrop succeeded.At the age of thirty-one, after a long course of study, training inathletics, teaching and lecturing, and counseled by such leaders ofliberal thought as Thomas Starr King and James Freeman Clarke,Dr. Calthrop entered the ministry, his first pastorate being in thegood old Puritan town of Marblehead. A few years later, in 1868,he was called to Syracuse as the assistant of the Rev. Samuel May,succeeding, upon the retirement of Dr. May, to the full pastorate ofwhat is now known as the May Memorial Church. For nearly two-score years he has been closely identified with the religious, educa-tional, charitable and social life of the city, also giving his personalattention to much helpful work among the boys of the street, in fulfill-ment of his deep conviction that the future of the nation dependsupon the education and development into good American citizensof the raw material of our cosmopolitan population, especially whereit is gathered in the congested districts of industrial centers. In themany phases of his life work, the genial, vigorous and winning per-sonality of the man has broadened and deepened his influence andpower for helpfulness in all walks of life. A little above the ordi-nary height, stoutly built, with a ruddy, unwrinkled face at seventy-six,-a face crowned and surrounded with pure white hair and beard,clear, kindly blue eyes, high and broad forehead, Dr. Calthrop givesat once the impression of a man of rare intellectuality and spiritualforce, as well as one who, through a long and useful life, has wellguarded his great physical and mental powers. Though a deep stu-dent, he is also a great lover of Nature and still finds joy in the workof his hands out-of-doors.6



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SAMUEL ROBERT CALTHROP, L. H. D.

TE CRAFTSMANill never forget the impression made upon:him in the fall of 1904, when he found Dr. Calthrop at work,

with his cross-cut saw, cutting up a gigantic old tree that hadfallen in a recent storm. The trunk, near the roots, where he was saw-ing, must have been fully three feet in diameter, yet the venerableworkman plied his saw so well and truly that the sawed off portionwas as straight as if done by a machine. Here was skill in manual la-bor, a trained mind controlling a trained body. His garden is a placeto be proud of. He grows vegetables, fruits and flowers of all kinds,and in every bed he takes a hand and does some of the physical workrequired. The mind of man is strengthened by the exercise of hisbody, is his motto. Physical work is his recreation from mentallabor, and mental toil from the weariness that follows physical exer-tion. The hunger that comes from outdoor work is the best appe-tizer, and Dr. Calthrop shows that he possesses both appetite andgood digestion by his well-nourished body and buoyant spirits. Hismind is as clear to-day as when he preached his great sermon on God.He quotes freely from the Greek and Latin classics he loves so well,and discusses the great poets with all the zest of youth and the criticalinsight of the scholar. Of Ralph Waldo Emerson he remarked:You could well understand, after you had been in his presence for alittle while and felt that marvellous shyness of his, what Hawthornemeant when he said : You feel that he feels that youd rather not. Of Browning, Dr. Calthrop spoke very earnestly: There was aman of the world, of an entirely different type; excessively courteous,who enjoyed people and loved to have them come and see him. Ah!if he had tried, like Tennyson, to be clear and limpid in his writing.Brownings character, as shown in his writing, has come upon me bydegrees. In some of his moods he might have been a hale, hearty,bluff sea captain, strong, determined and constitutionally stubborn.When he began to write, he gave the world Pauline and Parncehs.Theres nothing obscure in them. They are clear as crystal and goodpoetry. He had learned the sonorous power and perfect freedom ofblank verse, and determined in his next poem, Sordello, to use thisform and at the same time to tickle the ear with the Pope style ofcouplet, inherited from Dryden. Each was good in its way, but eachmust be free from the other. Together they were like oil and water.Tennyson gave us a new note of power in blank verse, but it was im-

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SAMUEL ROBERT CALTHROP, L. H. D.possible, even for a great poet like Browning, to have the beautifulfacility of Tennyson in blank verse and at the same time to use thedouble rhyme. It was a perverse sticking to a wrong decision thatspoiled him. Had he possessed Tennysons ear for form and allowedthat to guide him he would have discovered his error in a dozen lines,but he had decided on this form and kept to it, and the result was aninjury that he never fully overcame. Perfect form does not hurtnoble thought. Phidias sculptured the back of his statues, thoughthey were never seen, as perfectly as he did the front.

Referring later to Carlyle, Dr. Calthrop said: There was a timewhen Carlyle exercised a powerful influence over me, and no one willever deny his great genius. Between the thirties and forties I wasaffected by the vulgar and stupid confusion that existed in Englandconcerning religion and theology. It was just then that I got hold ofCarlyles idea as expressed to Emerson: that common sense controlledthe universe from the making of a nutmeg grater to the constitution ofthe solar system. That thought, once in my mind, has never left it,and it has been of incalculable benefit to me ever since. I was talk-ing one day with Milburn, the blind preacher, and he told me of avisit he had once made to Carlyle. The great writer received himwell, and when he learned that his blind visitor was a minister hesaid: There was a time when I intended to be a preacher. But T wasafraid I was going to say something my congregation would not be-lieve, and resolved to shut myself up and have it out. So I went intomy room, locked the door, and man, I dont know whether I ate, drankor slept for several days, but this I do know, when I came out therewere two things fixed for life, one was, that I should never be apreacher, and the other, that this d- dyspepsia had got hold of meand has never left me. I am glad that I did not go to Carlyle, continued Dr. Calthrop,I got more help from him indirectly than I possibly could have donein a personal interview. Instead, I went to Emerson with a letter ofintroduction from his nephew. He received me kindly, .and with hiscalm, sweet, friendly dignity, he took me into his study and there letme open my heart to him. He gave me his whole evening. Ah! hewas full of love as well as full of wisdom, and, unlike Carlyle, hadthe tenderness of nature that bade him give as a woman gives. Insome things, Carlyle was of great benefit to Emerson. When the8



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SAMUEL ROBERT CALTHROP, L. H. D.An intense lover of Nature, Dr. Calthrops sermons abound in aptillustrations drawn from this source. Of the life-power in an oak, he

speaks: Did you ever think of the infinitely delicate way in whichthe oak-tree sucks the moisture from the ground through a millionrootlets, how the sap ascends through a million tiny channels into thevery heart of the tree, and how, thus, in the springtime, every twigand leaf in the monarch of the forest tingles with life? But the deli-cacy of this almost infinite subdivision of watery juices is coarse com-pared with the intimacy of the life-force which causes this juice toflow, these buds to burst, which surrounds and interpenetrates the ulti-mate atoms themselves,-atoms so infinitely small that uncountedtrillions must exist in one single cell of the tree.Again, speaking of the seeming fickleness of the wind, but notingthat science now discloses that the movements of the air obey theeternal law as perfectly as the stars in their courses, he says: I satdown by that sweet waterfall of Central New York, as yet unsung,but which one day surely will have its poet,-1 sat and saw that allnature was obedient to Law. The blue bells on the rocky banksbudded and blossomed and nodded their gentle heads in obedience toLaw. The ferns uncoiled their growing fronds, the green leavesrustled, and the branches grew, the sunlight sparkled, and the cloudsfloated, all guided by Law. I stooped down and picked up the petri-fied mud of the old sea-bottom, and stood in thought on the shore ofthat primeval sea whose waters saw the first dawnings of life upon theplanet. What an infinite number of changes had passed over theearth since those Trenton mollusks and trilobites had revelled in thewarm tropic sea! Yet every change for ten million years had beenall guided by Law.Past those scarred and venerable rocks the water leaped andsparkled and dissolved in spray, and the fresh breeze ruffled its sur-face and tossed the white foam hither and thither. The wind and thewater, the two latest born of time, hurrying without a pause past themost ancient monuments of the buried ages. Cunning immortals,youngest in seeming of all Gods creatures, and yet the oldest they ofall things I saw on earth that day. Those fresh drops of water whichhad helped to deposit that rocky layer, ages and ages ago, were olderthan the mollusk, older than the trilobite, older than all, save the windthat played with them, the self-same wind that played with them mil-IO



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DR. CALTHROP IN HIS GARDEN



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SAMUEL ROBERT CALTHROP, L. H. D.lenniums ago. Lawless immortals! running, dashing hither andthither, bound seemingly by no law save their own wanton wills!And yet no tree nor flower, nor cloud, nor rock, nor buried fossil,obeyed the Law more perfectly than these twin genii of the water andthe air!

Another thought reveals the largeness and tenderness of his mindand heart: To-day there are some five hundred millions of womenshearts, -none without some capacity of loving; some that seem tohold in one small breast a whole heaven of love and tenderness. Theycame out of the invisible into the visible, did they not? Well, in thatinvisible, out of which this vast stream of thought and love hathflowed, must there not be an infinite divine reservoir of thought andlove ?SMUEL ROBERT CALTHROP was born in the year 1829, atSwineshead in the fen county of Lincoln, England, near the cele-brated abbey commemorated in Shakespeares King John. Thehouse in which he was born was built in the time of Charles I, ofstones taken from the ruins of the old abbey. Swineshead is six milesfrom Boston, England, and Tennyson was born not far from this his-toric spot. At the age of nine, young Calthrop entered St. PaulsSchool in London, where he remained for ten years, and was, for atime, captain of the school; later, Pauline Exhibitioner at TrinityCollege, Cambridge, for five years. Though taking a full course atthe university, he refused to graduate, because, in those days, nodegrees were given by the university authorities unless the recipientsigned the Thirty-nine Articles of the Church of England. Toohonest and fearless to stultify his conscience, young Calthrop left with-out a degree rather than even tacitly to acknowledge that he believedwhat his reason could not accept. In speaking of this episode, Dr.Calthrop remarked : It seems hardly possible that such folly couldhave been in full power within the span of one mans life, when con-trasted with the freedom of to-day. Sometimes I think Ill go backand get my degree, for the restrictions are all removed now, and yet,whats the use I

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TWO PAINTERS OF CHILDREN. BY WILLIAMWALTONT would seem to be very natural and appropriate that the art-

ists most successful in rendering the characteristics of chil-dren should be women,- and if young and gracefulthemselves, so much the better. But the Lobvious things inthis world are so frequently disproved that we speedily learnto distrust the pretty possibilities; and in no branch of humanachievements is the plausible more frequently discovered to be un-

sound than in art. Nothing, for instance, would seem more properthan the prompt establishment of mutual confidence and sympathybetween portrait painter and sitter, yet it is well known that some ofthe most popular practitioners have been not altogether attractivepersonalities, and one of the most distinguished of them all, Mr. Sar-gent, is on record as expressing his belief that no sitter ever left hisTite street studio without a sentiment of personal animosity towardhis painter! Nevertheless, general truths are frequently true,-cer-tain qualities do help the portrait painter to understand his sitterbetter, to see into him, and so (if aided by sufficient technical knowl-edge) to render more truthfully the real man in question. There aretwo young women portraitists living in New York city whose workis rising into deserved prominence exactly because of the qualities re-quired by the proprieties, and in whose pleasant records there does notappear to be any opening for cynical approval of contraries. Mrs.Kate Rogers Nowell and Miss Florence Wyman are both largely selftaught, though both have studied for comparatively short periods inParis and New York under various teachers,-Mrs. Howell in theateliers of Callot and Lhermitte abroad and Chase and Zarbell athome, and Miss Wyman in the Julian atelier, beginning at the earlyage of eleven, for six months, and later in the Art Students League ofNew York, mostly under Mr. Kenyon Cox, to whose carefulness andability as an instructor she believes much of her subsequent success tobe due. Both of these ladies-in their care to observe the rules-began by early efforts to draw the more or less willing sitters aroundthem, sisters and other relatives; the gradually increasing merit inthese portraits was duly recognized, the appreciation of partialfriends was succeeded by that of strangers, publishers, and the generalpublic, and real commissions, with their comfortable sequence of per-sonal independence and a career, followed.14



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TWO PAINTERS OF CHILDRENIt is probable, on the whole, that children are more difficult sub-jects for portraiture than adults,-just as, broadly speaking, women

are more difficult than men. The subtlety, the gracefulness of yoursubject make it harder to depict adequately, and while the infants ofvarious sizes by no means uniformly represent the Age of Inno-cence, nor are entirely free from the faults of their elders-selfish-ness, anger, jealousy, etc., and even self-consciousness-yet they veryfrequently present these peculiar traits in another, and, sometimes,in a prettier, way than their betters. There is a great charm, as weall know, in the appearance of a developing good trait,-as in thecourage and sturdiness of a very little boy, or in the grace and comingmotherliness of a little girl; for that matter, there is a curious charmand interest in the young of almost all animals, even in those whichgrow up to be disagreeable, as pigs and hippopotami. That com-plete ignorance and naivete which we agree to call Innocence is avery pictorial quality; the great seriousness and intentness over trifles,as of a kitten with a straw or a child with a toy, which would be sorepellant in the adult, is charming in the undeveloped being. Whileit is true that the cherubic infant is now pretty much relegated tothat realm of primitive folk-lore in which are found Dr. Watts birdsthat in their little nests agree, and while there have been known in-structors of youth, with a wide experience, who have sorrowfully ar-rived at the conclusion that all boys are sons of Belial, yet, for manyreasons, the young of the human species is generally regarded as inter-esting. For the artist, moreover, there is a never failing charm intheir peculiar drawing and modeling, which differs so greatly fromthat of the adult and approaches it only by such gradual stages, fromthe absurd disproportion of the baby to the lankness of the hobble dehoy. All these qualities, mental and physical, seem to be recognizedor suggested in the work of Mrs. Nowell and Miss Wyman,-the un-picturesque traits being necessarily suppressed with somewhat morefirmness than would be necessary with adults, and yet, in the interest oftrue portraiture, not entirely suppressed. It is evident that the ob-stinacy of the bad little boy must be indicated, the truculent sucklingmust be differentiated from the beaming and expansive one!

For the disconcerting restlessness of these small sitters, whichmakes it so difficult to catch the desired expression, or, indeed, anydefinite expression, Mrs. Nowell considers the only remedy to be to



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TWO PAINTERS OF CHILDRENnever allow them to get tired but to keep them amused and interestedall the time and then catch them on the wing. For this is really theonly way to catch the brightness of a child,-as it is, indeed, that of agrown person. The very young person whom it is desired to portrayis allowed to chatter every minute,-by this method only can a glimpsebe obtained of the inner personality. Not endowed with that respectfor conventionality which obtains with his elders, the tired, or bored,child makes no attempt to conceal his condition and passes promptlyinto a quite unpaintable condition. Of course, a fondness for chil-dren lies at the root of the talent of both these ladies. Miss Wyman,also, draws her sitters only while talking or at play and in a conditionof more or less perpetual motion. She says she always sees her pic-ture clearly in her head, in closest detail, before she begins it, thenshe endeavors by careful watching to catch motion and expression andput down everything that fits into her idea. The first idea mustnever be changed unless radically wrong, as I try to get the very key-note of the childs character. This artist has executed very many ofher portraits, both of children and adults, in pencil before she beganto paint, which, indeed, she has scarcely done as yet; her favoritemedium is a very soft lead pencil with which she secures a spiritedand effective drawing, as may be seen in our reproductions of herwork. There is but little search for detail, the modelling is broadlydone-as is, indeed, natural in these smoothly rounded countenances,there is a careful search for correct outline, and a general feeling fora more or less decorative presentation,-as in all good drawing. Incontrast with these vigorous delineations are some of her earlier andsmaller ones in which the vague and almost impalpable charm of ex-pression of the tender sitter is rendered in the most delicate grays ofthe pencil. In her portrait painting she expects to follow the samegeneral lines, and her color seems to be already both subtle and true.M S. NOWELL works in a great variety of mediums, oil, pas-tels, water colors and crayons, and varies her methods accord-ing to her material. Some of her most successful works havebeen portrait groups; in some she has even had to present the parentwith the children,-a task the formidableness of which may be appre-ciated even by a layman. Her Parisian training in painting fromlife, the true study of the ateliers, has of course been the foundation16



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PORTRAIT OF A BOY, BY MISS FLORENCE WYMAN



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PORTRAIT OF A CHILD, BY MRS. KATE ROGERS NOWELL



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SKETCH OF A GIRL, BY MISS FLORENCE WYMAN



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HEAD OF A BOY, BY MRS. KATE ROGERS NOWEU



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TWO PAINTERS OF CHILDRENof her technical ability, but of the rest-the very important rest-butlittle is actually taught in the ateliers though much may be learned byclose observation. In the pretty art of miniature painting-of whichthere are many in these later days who have essayed the restoration andonly a few who have succeeded-she seems to possess that peculiarsympathy, that ability to flatter and prettify in the peculiar guardedand conventional way required by miniature painting, which thetyros and the awkward ones always miss. Any ugliness or uncouth-ness in these charming and mannered little ivories is almost as bad asthe inane prettiness which is more common. Her crayon work, webelieve, has been largely of adults, some of the more distinguishedsitters, as Sir Henry Irving, appearing in The Critic, and others, asMark Twain, Joel Chandler Harris and the naturalist John Muir, inThe Outlook. Her portraits have appeared in the exhibitions of allthe more important art societies of the metropolis, and many of themelsewhere.

It may be said that the quality which especially distinguishes theworks of these young artists is that modern quality difficult to defineyet very palpable. It is a sort of sophistication which professes to bequite frank while in reality not so, an apparent letting yourself gofreely while you are actually conscious of a hundred things which aretaboo. The modern painter, while his general knowledge is muchgreater than that of the eighteenth century, the seventeenth or the six-teenth, is yet forbidden innumerable privileges which were grantedhis forbears. To take an example from the first, and from the Eng-lish school with which we sympathize more nearly (the French chil-dren, as those of the representative modern painter of children, Geof-froy, seeming to us much more mannered and alien), not only are wedenied such phenomena as The Infant Jupiter, The Infant Her-cules, or even The Infant Samuel Johnson of Sir Joshua Reynolds(declared by his biographer Stephens to be of all artists the one whopainted children best . . . . knew most of childhood) but even thespirituality, the %aturalness, the half-shy, half-sly expression,the roguishness, the playful archness, of Miss PenelopeBoohby, the Strawberry Girl, Simplicity, and The InfantSamuel. Even Stephens could not stomach the last; The InfantSamuel, he says, turns up everywhere in England, has been en-graved under more names than any of Reynolds pictures, and is to be

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TWO PAINTERS OF CHILDRENseen in every country,-tawdry colored lithographs from Berlin;steel-plate impressions from Vienna; Parisian etchings of the com-monest order ; English wood cuts, lithographs, copper-plate engrav-ings, and every other means of reproduction have been employed forit; it has even appeared on anchovy and jam pots. (For this disre-spect he has been denounced as belonging to that school of cynicswhose motto is: VOX populi, VOX diaboli .) The artlessness of thenineteenth century may be as artful as this, but it does not seem so in,our eyes; it is quite certain that we cannot do things in this particularway. While the human affections cannot, generally, be cultivated be-yond a certain point, the intelligence, apparently, can; our grand-fathers felt as strongly as we possibly can, but they fell short of us incertain matters of taste, we believe. The heart (admirable organ!)is a very uncertain guide in these matters of taste,-as witness the firstfond parent we meet. Whether it is a better way or not, the modernway is a very different way, as we have said; and is much more ham-pered by fear of bathos. It demands a certain fine simplicity and,directness, an avoidance of the incongruous, the pedantic and the shamsentimental; above all, in the presentation of that ever-new mystery,the simple child that lightly draws its breath, it requires somethingthat, in the words of Fuseli, the painter, shall teem with man, butwithout the sacrifice of puerility.

SINCERITY IN ART( I matters not whether you paint butterflies upon fans or the HolyFamily to adorn a cathedral, your motive must be sincere, youmust be doing that which you really and honestly want to do.To be sincere is not necessarily to be serious. To be sincere is to benatural, to be honest, to be spontaneous, to be true to ones convictionsand impulses. One may be as sincere in acting as in playing a Bee-thoven symphony; in carving a bit of ivory as in moulding an Apollo.By nature we are all sincere; by training and association do webecome false and artificial. Sincerity is a quality soon lost, a lustersoon dimmed; natural to children, it disappears with age; contactwith people seems to destroy it, whereas close touch with natureserves to restore it, for nature is never insincere.22

--Ar t hur Jerome Eddy.



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MEMORIALS TO MCKINLEYWithin a week after the Presidents death Toledo had raised

fifteen thousand dollars for a memorial, and on the first anniversaryof his death the first monument erected by the people of a city was un-veiled before a vast concourse of citizens such as had gathered at thesame spot on the day of the funeral and in tearful silence paid a citystribute to the man whom thousands in Toledo had called friend.This monument is a portrait in bronze, mounted on a granite base, andstands directly in front of the Court House. In the granite base wasdeposited a great roll, nearly a quarter of a mile long, containing the.names of the twenty-six thousand people who contributed to the mon-ument fund. The statue is the work of Albert Weinert of New York,and represents McKinley in the act of making an address, and at themoment when he had paused to let a burst of applause subside. Mr.Weinert had had some personal acquaintance with the President,which aided him in his work, and the further advantage of variousphotographs of the death mask which is in the National Museum atWashington and which he secured by special favor. An addressmade by Senator Hanna at the unveiling of this memorial to hisfriend was one of his last public speeches.

Six months prior to the unveiling of the Toledo monument a life-size statue of President McKinley was erected at Muskegon, Mich-igan. This was the gift of a public-spirited citizen of Muskegon,who commissioned Charles Henry Niehaus to execute what was toprove one of the last of his many gifts to the city. The donorsdeath occurred soon afterward. This memorial is in the form of anexedra, in the centre of which rises the figure in bronze. Mr. Nie-haus, too, had met the President, had felt his personal magnetism andthe strength of that quiet, kindly nature, more persuasive than forcefulwith its subtly insistent power. He was aided also in his work byphotographs which he had had taken while executing a bust of thePresident before his death. These photographs were particularlyhelpful to the artist because the character lines had not been re-touched, but for this very reason Mrs. McKinley had the platesdestroyed after the one set of prints was made.

Closely following the unveiling of the Toledo monument was thatof a memorial at Adams, Massachusetts, also a portrait in bronze,though of heroic size, and executed by Augustus Lukeman. The24



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STATUE OF PRESIDENT MKINLEY AT CHICAGO. BY CHARLES J . MULLIGAN



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UNFINISHED SKETCH OF THE PIiILAI)ELPHIA MEMORIAL, BY CHARLES ALBERT UWEZ

www historicalworks com


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THE MARTINY MONUMENT AT SPRINGFIELD. MASS.



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GENERAL SCHEME OF MKINLEY MEMORIAL AT COLUMBUS, OHIO, H. A. MACNEIL, SCULPTORLORD & HEWLETT, ARCHITECTS, ASSOCIATED

MKINLEY MUNUMENT AT MUSKEGON, MICH.PORTRAIT EXRCUTED BY CHAS. HENRY NIE HAUS


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DEATH MASK OF PRESIDENT MKINLEY IN THE NATIONAL MUSEUM, WASHINGTON

A. PHIMISTER PROCTOR AT WORK ON LIONS FOR MKINLRY MONUMENT AT BUFFALO

www.historicalworks.comwww.historicalworks.com


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MKINLEY MONUMENT TO BE PLACED IN BUFFALO, DESIGNED BY CARRERE & HASTINGS,NEW YORK



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MEMORIALS TO MCKINLEYfund for this memorial was started immediately after the death of thePresident, who three times had been an honored guest of the town,-first, when as Governor of Ohio he dedicated the second Berkshiremill to the principles of protection and prosperity; second, when asPresident he laid the corner stone of the Memorial Public Library,before which the statue stands; and when again as President he re-turned to lay the corner stone of Berkshire mill No. 4. The contribu-tions were largely from mill operatives, from school children, and thecongregations of churches of various denominations, constituting atribute from people in whom the President had shown a particularand personal interest. The statue stands eight feet high, the figure ina characteristic pose of the President while delivering an address,with left arm uplifted and head slightly thrown back, the right handresting on a standard enveloped in the flag. The granite pedestalbears on each of its four sides a granite tablet in relief, one showingMcKinley addressing the House of Representatives on the tariff bill,another as commissary sergeant at the Battle of Antietam, the thirdrepresenting him delivering his first inaugural address, and the fourthbearing these words taken from his last speech at Buffalo: Let usremember that our interest is in Concord, not Conflict, and that ourreal eminence is in the Victories of Peace, not those of War.

Other memorials already erected are at San Jose and San Fran-cisco, California, the former a gift of the sculptor, Rupert Schmid,to the town; the latter being a figure of Columbia in marble, the workof Robert I. Aitken. In McKinley Park, Chicago, stands another,the gift of a well known citizen of Chicago, a lover of great men anda particular admirer of Mr. McKinley. This memorial was dedi-cated to the workingmen of Chicago. It is in the form of a semi-circular exedra in granite, the figure of bronze being the work ofCharles Mulligan of Chicago. The sculptors idea was to express theinterest McKinley always felt for the people and particularly as indi-cated at the moment he arose to present to Congress the tariff bill thatbears his name. The monument most recently unveiled is that erectedby popular subscription at Springfield, Massachusetts. This one isthe work of Philip Martiny and shows a beautifully modeled femalefigure representing Fame reaching forth a palm leaf toward the bustof McKinley surmounting the pedestal.In a half dozen other sculptors studios in New York and else-

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MEMORIALS TO MCKINLEYwhere stand models more or less finished for still other memorials.H. A. MacNeil has just completed the model of the portrait for amonument to be erected at Columbus, Ohio, at a cost of fifty thousanddollars, and is now at work on models for two groups which will beexecuted in bronze and adorn opposite ends of an exedra, from thecentre of which will rise the heroic portrait, also in bronze. The twogroups represent the general fundamental elements in the prosperityof the country. One is Peace, as represented by a female figureplacing the palm over the sword and accoutrements of war, while alittle girl at her side is weaving a festoon of flowers. The other showsa very robust workman with tools in his hand, and at his side a youngboy holding a scroll on which he and the man are working out a me-chanical problem. The State of Ohio appropriated one-half the sumfor this memorial, the remaining half being divided between themunicipal government and the citizens of Columbus.Philadelphias tribute to this universally beloved man will be inthe form of a heroic bronze, mounted on a granite pedestal, at thefront of which, placed so as not to detract from the main figure, is agroup embodying the idea of pro patr ia,-a mother figure instructinga child in the principles of patriotism, pointing to the figure above asan example.In commemoration of the saddest event in the history of Buffalothere will one day stand there a memorial to be erected at a cost of onehundred thousand dollars, the funds for the monument having beenappropriated by the State of New York, the site being given by thecity. This will be an architectural monument, designed by Carrere& Hastings of New York. It is an obelisk of Vermont marble witha series of broad approaches. At the four corners of the base of theshaft rest four lions in heroic size, also of Vermont marble. Theselions are the work of A. Phimister Proctor, one of the foremost ofAmerican animal sculptors. Mr. Proctor has already devoted morethan a year to this work, it being necessary to make two models in re-verse positions. The second model is now almost completed, but thecompletion of the monument will require at least another year.Quite naturally the most elaborate and costly memorial is the oneto be erected at Canton, the home of McKinley in the days of his strug-gling young manhood and in the days when he had achieved thatwhich to him seemed most worth striving for. This memorial is more34



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MEMORIALS TO MCKINLEYthan local in character. It is national and subscriptions to the fundhave reached nearly six hundred thousand dollars, coming from everynook and cranny of the United States. The entire amount necessaryfor the building of the memorial is already in hand, but an additionalhundred thousand dollars is to be raised as an endowment fund, theinterest from which will defray all expenses and provide for the main-tenance of the property, in this way avoiding the necessity of chargingan admittance fee to people visiting the tomb. Although the plans onwhich architects have been working for two years are not yet finallyapproved, work at the monument site has already begun and it is ex-pected that it will be finished in two years from this time. The me-morial will be seventy-five feet in diameter, one hundred feet inheight, built of pink granite with a marble interior. It is to beseverely plain in character and will stand on an eminence known asMonument Hill, itself seventy-five feet above the surrounding level.It is quite likely that a sculptured portrait of McKinley will have apart in the plan, and that this will be the work of Saint Gaudens.

,4s succeeding years give perspective to the life of this man, othergenerations will rise to do him honor, but it comes to the few to bemeted such prompt recognition as this. No other man in public lifein this country has had so much evidence while he lived of the affec-tion of his countrymen, nor at his death such a universal and eagerimpulse to show him honor.

A RECOLLECTION OF PRESIDENT MCKINLEY66I FOUND the President, of all men in Washington, theonly one who seemed not at all troubled by the heat, by thecomplications in China, by the difficulties in Cuba and PortoRico, or by the rush and whirl of the campaign. During this firstvisit of mine, the Secretary of State and the First Assistant Secre-tary were both absent, having been almost prostrated by theextreme heat. At a second visit in October, I again saw the Presi-dent, found him in the same equable frame of mind, not allowinganything to trouble him, quietly discharging his duties in the calmfaith that all would turn out well.(Andrew D. Whi tes Aut obiography.)

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MODERN ARCHITECTUREout which any attempt at art becomes ridiculous. In art, as in socialintercourse, ridicule is both irritating and belittling, and no work ofart worthy of the name can live down an element which is capable ofbeing ridiculed, whether the element be structural or decorative.Sanity of structure and its expression is therefore an architecturalnecessity, and as the structure is governed largely by the requirementsof plan and material, it is equally necessary that they should be sane.I is evident that all architecture, of whatever style, has originatedfrom simple and straightforward construction, which has beenbeautified by two methods, one that of refinement of the lines andproportions of the structural forms, the other that of overlaying thoseforms with some embellishment. The genesis of any style is there-fore the result produced by exigencies of structure and in so far as thestructure of a new building erected under seemingly new conditionsresembles the structure which has produced a style, the new buildingwill have certain points of similarity with that style. As the Greekstyles are nearly devoid of arches and are developed from post andlintel, any structure devoid of arches and not clothed with the detailsof other styles will resemble crude Greek forms. As the Romanstyle is prolific in round arches of a considerable span, any structurewith round arches will to some extent have elements of that style asthe acceptance of the designation Romanesque indicates. The samething occurs with the vertical lines and the ribs of the Gothic. Bytheir structure shall ye know them. It is impossible to prevent theapparent relationship between works of similar structure, and it isfutile to attempt to do so. But it is not an uncommon occurrence tofind structure which in proportions and intention resembles Gothicclothed with classic forms and vice versa. The result is unsatisfac-tory, must necessarily be so, and produces an effect either of plagiarismor of affectation. What more natural plan of action can be adoptedthan that of primitive man, that is, to let the method of building sug-gest the manner of building. Such an attitude once acknowledged,the process of designing is very much simplified, and originality, thatSOmuch sought for attribute, occurs naturally, and is not the absurdtour de force so often apparent.There are, however, several facts to be considered. First, allsimple construction is at first necessarily crude, and becomes beautiful

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MODERN ARCHITECTUREIt is in buildings of greater unity of purpose, of higher ideal, of moreconcentrated effort, that style may be anticipated, such as civic andreligious buildings, and the habitation of a family, or of a welldefined class. And in these the element of historical tradition is stillstrong. The conservatism which holds to the best of the past makesit wisdom to maintain certain observances, certain forms, and igno-rance and neglect of this conservatism results in chaos in architecture,as in law. The chaotic architecture of America has been in the pastdue to ignorance, in the future it bids fair to be due to wilful neglect.I the attempt to eliminate what is assumed to be artificial andimitative, two facts are overlooked, first that all beginnings arecrude and while sincere lack full accomplishment; second, thatthe methods of expression of certain factors in construction have beentested again and again, and solutions obtained, and that a discrimina-tive selection of the results is merely an acknowledgement of progressin the art. It seems to be as unnecessary for an architect to avoid theuse of certain established details in architecture as it would be for apainter to omit the features of a face. The architect should have thecommon sense to recognize the fact that novelty in his art does notcome from preconceived desire, but from change of relation in com-ponent parts, and he should devote his powers to making the relationof the factors as perfect as possible. In the process of this work he isconstantly aided by studying corresponding results already obtained,and using such portion of these results as will fit well into his prob-lem. To deny himself this privilege is analogous to a writer whodeliberately avoids all words excepting nouns and verbs, or who triesto invent a new language. All good architecture has been eclectic inthe forming, and has become crystallized into styles as the result ofhighly specialized requirements, both of intention and of structure,but even in the process of formation it has never ignored forms ofwhich the use was already established and which had completed theirdevelopment. Therefore there is family resemblance between alllintels and all capitals, and while variations may be extreme, the fun-damental forms remain the same. All of which points to the conclu-sion that any and all styles have elements which will recur in greateror less degree in each architectural problem, and which can be ex-pressed in terms that have long been established. Even Archaeologi-cal knowledge often serves an architect a good turn. 39



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MODERN ARCHITECTUREAs to the renewed interest in Gothic solutions of architectural

problems, there is little to be said. Certainly no phase of architecturehas become so formalized as is that of the Classic in which the ordersare used. It becomes almost a necessity that the scheme of the designshould be very simple in order that the Classic orders should be attheir best, and as plan and elevation become complex greater freedomis essential. This freedom is to be found in transitional styles and inthe Gothic, and it is natural that the work accomplished should beinfluenced by that fact. But unless a tradition, such as that of theChurch, establishes a style, it is unwise to deliberately adopt any pro-nounced style regardless of environment. The chief fault with Mod-ern Architecture is that it is a harlequinade, and one of the greatestcharms of foreign towns and villages is that there is a simple harmonyin the work throughout. The natural sequence in designing archi-tecture is the simplest of construction, and the simplest expression ofthat construction and of the adaptation of the result to the environ-ment. The note should not be forced. Unless the building is eitherso large, or is so isolated that it dominates its surroundings, there is noadvantage in its being different from its neighbors, excepting by causeof its greater merit. Pronounced styles have always appeared in veryimportant buildings, and they should be confined to that type of work.Let all other work be designed regardless of styles,but with the great-est attention to style.

EDUCATION IN ART6cI is not for me to go now into the many reasons why it is notpossible for us in these later times to enter fully into thespirit which prompted the beautiful work of the past: thisone reason, that we have not first met with the difficulties the over-coming of which brought it into existence, is all that is within myprovince at the moment. Get yourself saturated with knowledgeof form, of beautiful form, presented for your study by Nature onevery hand, and apply this in your own way to meeting require-ments and overcoming difficulties which you fully comprehend,which present themselves to you in the work which you have to do.(Barry Parker. 140



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HON. THOS. L. J OHNSON, MAYOR OF CLEVELAND



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, . .



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GROUP PI.Ay OF PURLIC BCILDINGS OF THE CITY OF CLEVELAND, SHO\VlNGSURROUNDIKGR, APPROACHES, P.4RKHAYS AND PLEASURE GROUKDS



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DETAIL PLAN OF FOUNTAIN AT SOUTH END OF MALL, WITH TREATMENT OFGARDENS, TERRACES, FORMAL TREES AND REFLECTING POOL



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CIVIC ART IN CLEVELAND OHIO. BY ED-WARD A. ROBERTSHE traveler along the southern shore of Lake Erie is im-

mediately impressed with the splendid location of thecity of Cleveland, and recognizes at once the far sighted-ness of its founder, General Moses Cleaveland, the Con-necticut surveyor who established a trading post at themouth of the Cuyahoga River in 1796 as a basis for whatis now the metropolis of Ohio and the seventh city in the United

States. Time was when the humorously inclined were prone to referto Cleveland as an overgrown village or summer resort affording aconvenient resting place between New York and Chicago. Withinthe confines of the city of to-day and its connecting suburbs there areseventy-one square miles of territory, containing a population esti-mated at half a million and sustaining industrial enterprises which incharacter and volume of output are nowhere equaled in the world.With many other American cities, however, Cleveland has sufferedfrom rapid growth. It is significant of all the larger cities that op-portunities for development along artistic lines have been all but lostin the absorbing rush of commercialism. Now that these cities aregetting their second breath, as it were, they are beginning to realizethe possibilities they possess for advancement in civic beauty. It isonly in the last ten or a dozen years that this movement toward retriev-ing opportunities has given promise of becoming general. It receiveda great impetus from the White City at Chicago in 1893, which dem-onstrated the remarkably pleasing effects to be obtained by orderlyarrangement of structures, harmoniously designed, and all made tocorrespond to the educated fancy of a master mind. Other exposi-tions in more recent years have accelerated the movement, until nowthere is scarcely a municipality of any consequence that does not havea select coterie of artists, architects and public spirited citizens joinedin societies or represented by commission, busily engaged with plansfor civic betterment. A leading exponent of these local bodies is theAmerican Civic Association, which will meet in Cleveland in Oc-tober. It is appropriate that this association should visit the ForestCity at this time, for there is no other city in the country that repre-sents so interesting and profitable a study to careful critics of munic-ipal affairs. In addition to being one of the best governed cities inAmerica, it is fulfilling the dreams of its most altruistic inhabitants

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CIVIC ART IN CLEVELANDin carrying out a line of public improvements remarkable for theirplan and scope. Cleveland is performing the maximum possible taskwithin its debt limit and is proving that the average citizen is notaverse to large expenditures when convinced that his dollars are beingwisely placed.F OREMOST in point of national, and to a certain extent inter-national interest, is the extraordinary improvement the city isnow executing in the way of a group plan of public buildings.Strange as it may seem, this big municipality occupies rented quartersfor its municipal offices, has no central public library building, excepta temporary structure of slight cost, occupies rented quarters for itseducational department, has a union passenger station that is a dis-grace to the community, houses its county offices and courts in an anti-quated stone building insufficient for its use, and until recently had afederal building better situated for the needs of half a century agothan the present day. This being the peculiar situation that has con-fronted the city, a movement has been in progress for several yearsamong Cleveland architects and citizens for taking advantage of theconditions and erecting buildings, not only attractive and beautiful in-dividually, but so arranged as to provide an harmonious and beautifulgroup. Under the auspices of the Cleveland Architectural Club inMarch, 1895, a competition was instituted upon the grouping ofCleveland public buildings. One of the judges in this competition,the late Prof. Charles F. Olney, followed up the suggestion by intro-ducing a resolution in the Cleveland Chamber of Commerce, creatinga committee on grouping plan in January, 1899. This committee hastaken a leading part in all subsequent developments. Already initialsteps had been taken for erecting new municipal and county build-ings, and it was found that the commissions having these matters inhand were favorably inclined toward the group idea. In publicmeetings and through the newspaper press encouragement was freelygiven to the enterprise. At the convention of the ArchitecturalLeague of America, held in Cleveland in June, 1899, a paper uponthe subject was presented by Mr. H. K. Bush-Brown of New York,the public being invited to the meeting. A little later Mr. John M.Carrere of New York, delivered an illustrated lecture upon the topicbefore the Chamber of Commerce, showing what had been done in46



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CIVIC ART IN CLEVELANDthis line by the older cities of Europe, and suggesting the possibilitiesin Cleveland. At the instance of the Chamber of Commerce a Statelaw was enacted providing for the appointment of a board of super-vision by the Governor of the State, bringing the services of threearchitects of national prominence to bear upon the subject. Gov-ernor Nash under provisions of this bill appointed as members of thecommission Mr. Daniel H. Burnham of Chicago, architect of theColumbian Exposition ; Mr. John M. Carrere of New York, architectof the Pan-American Exposition, and Mr. Arnold W. Brunner,architect of the new federal building in Cleveland. After devoting ayears study to the group plan idea, this board presented an elaboratereport, accompanied by drawings, which at once met with popularfavor and upon which the present improvements are proceeding.T HE most important of these drawings is of course the groundplan, a reduced copy of which is presented with this article.The entire group plan, exclusive of parks, embraces aboutnineteen acres of land, which lie close to the business heart of thecity. The axis of the plan is Wood street extending from Superiorstreet to the lake front. It is proposed to make of Wood street a mallupwards of 500 feet in width. At the southerly end of this mall willbe located the federal building, now in process of construction, andthe public library building, the former on the westerly side and thelatter on the easterly side. At the northerly end of the mall is to belocated a monumental union passenger station, the vestibule to the cityof Cleveland, this to be situated nearest of all the buildings to thelake. A little to the south of this building are to be located the cityhall and the court house, balancing the structures at the southerly endof the avenue, the court house to be on the westerly side and the cityhall on the easterly side of the axis, each of these buildings to frontdirectly on streets parallel with Wood street. It is proposed to trans-form Wood street into an imposing Court of Honor, lined if possiblewith dignified and harmonious architecture, this avenue to be im-proved with formal clipped trees, parkings, flower beds, fountains andstatuary.

As for the high character of the undertaking, the supervisingarchitects made the following comment: When the scheme is de-veloped it will recall in part many of the fine avenues we point to with47



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CIVIC ART IN CLEVELANDpleasure, such as the Champs Elysees in Paris, or the Esplanade inNancy. In many of these minor details, in the arrangement of thetrees and the inner court, the Palais Royal gives a fair suggestion ofthe sort of beauty aimed at. The Sunken Garden of the Luxembourg,with its wonderful treatment of rosebushes and flower beds on thesloping surfaces, suggests what can be done with the sunken garden inthe middle of the Mall and the Esplanade.

The Commission recommends that the design of all the buildingsof this group plan should be derived from the historic motives of theclassic architecture of Rome; that one material should be usedthroughout, and that a uniform scale of architecture should be main-tained in their design. The cornice line of the principal buildingsshould be uniform in height, and the general mass and height of allthe buildings on the east and west of the Mall should be the same; infact, these buildings should be of the same design and as uniform aspossible. The same conditions of design should apply to the build-ings on the north of Lake street between Erie and Seneca Streets.It must be remembered that the architectural value of thesebuildings does not alone lie in their immediate effect upon the be-holder, but much more in their permanent influence on all buildingoperations of the city. An example of order, system and reserve, suchas is possible here, will be for Cleveland what the Court of Honor of1893 was for the entire country, and the influence will be felt in allsubsequent building operations, both public and private.A COMPANION plan presented with the report shows the sec-tion of the city in which the public buildings are to be locatedand also describes the streets and blocks of land to be oc-cupied. Already the city and county have purchased four entireblocks of property upon which the court house and city hall are to beerected, these four blocks being situated on the lake front overlookingLake View Park and the lake itself. These blocks are 381 feet inlength, and 261% feet in width, and contain, including the streets sur-rounding them, nine acres. Lake View Park contains ten and a halfacres, and lies beyond these blocks and the tracks of the Lake ShoreRailway. Beyond these railway tracks will be a park of land, madefrom dumpings, of about thirty-four acres, almost one-half of which isnow filled in and ready for improvement. The cost of these blocks to48



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CIVIC ART IN CLEVELANDthere may be deducted from the ultimate cost to the city of the GroupPlan the sum of $2,875,000, reducing the total cost to $I 1,978,105.The city would, of course, receive fair compensation from the rail-roads for any land ceded to them for depot purposes, and any moneyor the value of the land thus received in compensation for land nowwithin the boundaries of the group would be applied in still furtherreducing the total cost of the project.As for progress on the buildings themselves, the preliminary draw-

ings have been made for the new court house and specifications arebeing written upon which bids will be received for actual work.The preliminary drawings for the city hall are also near-ing completion in the office of a local architect, J. Milton Dyer.The buildings are both made to conform to the ideas of the supervisingarchitects, who recommend in their report that the classic style be fol-lowed in the entire group of structures. The federal building is wellunder way, the corner stone having been laid with impressive cere-monies late in May. This building will be of granite, and being lo-50



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CIVIC ART IN CLEVELANDcated directly upon the Public Square, will form a splendid advertise-ment to the citys notable attractions. Plans for the public libraryhave not yet been drawn, but a movement is in progress to combine thisbuilding with the Board of Education headquarters and push theproject for the erection of the joint building as rapidly as possible thecoming year. A bond issue of $500,000 has been made for the publiclibrary, but this will need to be considerably increased to obtain thekind of a building desired. Tentative plans have been prepared forthe new union station and trackage to be located in accordance withthe general plan, but no definite steps have been taken by either therailroad or the city toward arriving at a satisfactory basis of trans-ferring the necessary land required for the site. There is a disposi-tion, however, on the part of both sides to deal fairly, so that the super-vising commission is confident of the ultimate fruition of the plan asoutlined.M RKED attention is being accorded the Cleveland groupingplan by other cities of the country and by a number of foreigncities. Improvements similar to those in Cleveland are beingconsidered in Washington, Harrisburg, St. Louis, Buffalo, NewOrleans, San Francisco, Chicago, Baltimore, Detroit, Boston, Ottawaand one or two other cities where in some degree grouping plans forpublic buildings or kindred movements are being agitated. The cityof Manila is about to undergo a physical regeneration along the samelines, an expert investigation of its artistic possibilities having beenrecently made for the government by Mr. Daniel H. Burnham. Thedrawings presented by the grouping plan commission of Clevelandhave been exhibited in various parts of the country, and reproductionshave been presented to the American Institute of Architects, the stu-dents of Harvard College, and other universities and associations.The greatest honor that has yet been accorded them was the award ofa gold medal by the St. Louis Exposition for groups of architecture.Copies of the report issued by the commission have been in such greatdemand that almost 2,000 have been distributed to civic societies andmunicipal authorities, seeking ideas for application in various partsof this country and abroad.In the way of buildings other than those associated in the groupingplan, a new art museum, to cost between $~,ooo,ooo and $1,5oo,ooo is

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CIVIC ART IN CLEVELANDbeing planned to be erected in Wade Park on the site given for thispurpose by Mr. and Mrs. J. H. Wade, the funds for this building hav-ing been provided by bequests made by former wealthy men of thecity, and are known as the Huntington, the Hurlburt and the Kellyart funds. A new market house, to cost approximately from $500,000to $750,000 will be erected next year on the west side, plans for whichare being drawn by local architects.As the result of a vigorous campaign for lessening the danger fromsurface railroad crossings, the present city administration, throughnumerous conferences with the railway officials, has succeeded in hav-ing plans made and approved for the elimination of all such crossingsin the city, numbering about one hundred. A law has been passedauthorizing this action, one-half of the cost to be paid by the city andone-half by the railroads. The street railroads do not contribute.By making concessions with the steam railway companies, not detri-mental to the citys interest, a basis has been agreed upon which callsfor an expenditure of about sixty per cent. by these companies, thusreducing the citys share. Already several grade crossings have beenabolished, and work is progressing on others. An idea of the cost ofthese improvements calculated to save life and limb is gained by refer-ence to the plans for the Pennsylvania railroad, whose crossings havebeen divided into five groups, the total estimated expenditure being$4,15o,ooo for doing away with the crossings of this company alone.As a means of relieving congestion in street car travel, a subway hasbeen proposed for the down town district, and is being considered bythe Chamber of Commerce. Cleveland has no elevated railway andno underground railway as yet, all travel being on surface roads.Through the efforts of the special committee of the Chamber of Com-merce a New York expert has made a study of the problem. TheCleveland park and boulevard system, designed by the eminent land-scape artist E. W. Bowditch, of Boston, is the pride of the people ofthe city. Embracing as it does several of the most picturesque andattractive public pleasure grounds in the country, linked together bythe spacious and well-kept drives, the system is as unique as it ischarming. It is proposed to complete some of the connecting boule-vards not yet made, the present year, and also to build additional shoreprotections, shelter houses, bridges, etc., the cost of this work to beabout $5oo,ooo.52



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FOUNTAIN AT NORTH END OF MALL

SECTION THROUGH MALL, SHOWING FEDERAL BUILDING AND LIBRARY

CLEVELANDS PROPOSED NEW CITY HALL



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MR. W. J. SPRINGBORN, DIRECTOR OF PUBLIC SERVICE AT CLEVELAND, OHIO



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THE LIVING ROOM, ITS MANY USES AND ITSpOSSIBILITIES FOR COMFORT AND BEAUTY5 ~- r Y purpose in this series of special articles upon the sub-

py77

1 ject of house building and furnishing is to take the sev-Id era1 rooms of a house, each in its turn, and to explain as-F briefly and simply as may be the various interesting fea-&zd tures which go to make a room that shall be a content-ment in itself as well as a component part in the whole

scheme of a beautiful dwelling. A room is satisfying only when itcompletely fulfills the purpose for which it is intended. Its charmand individuality spring from its fitness to meet the needs of its occu-pants as simply and directly as possible, regardless of custom orconvention; to express honestly the life that goes on in the house andthe character of the people who live in it, rather than to attempt toshow that we possess the properties which ordinarily belong to ourstation in life, and can make the appearance expected from us by ourneighbors.The living room is chosen as the theme for this first article becauseit is the most important room in the house. In a small or medium-sized dwelling this room, with the addition of a small hall and awell-planned kitchen, is all that is needed on the first floor. A largeand simply furnished living room, where the business of home life maybe carried on freely and with pleasure, may well occupy all the spaceordinarily partitioned into small rooms, conventionally planned tomeet supposed requirements. It is the executive chamber of thehousehold, where the family life centers and from which radiates thatindefinable home influence that shapes at last the character of thenation and of the age. In the living room of a home, more than inalmost any other place, is felt the influence of material things. It is aplace where work is to be done, and it is also the haven of rest for theworkers. It is the place where children grow and thrive, and gaintheir first impressions of life and of the world. It is the place towhich a man comes home when his days work is done, and where hewishes to find himself comfortable and at ease in surroundings that arein harmony with his daily life, thoughts and pursuits.In creating a home atmosphere, the thing that pays, and pays well,is honesty. A house should be the outward and visible expression of-the life, work and thought of its inmates. In its planning and fur-nishing, the station in life of its owner should be dignified, not

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THE LIVING ROOMin the house, it should have an exposure which insures plenty of sun-light for the greater part of the day, and also the pleasantest outlookpossible to the situation. Both of these considerations, as well as thebest arrangement of wall-spaces, govern the placing of the windowsand of outside doors which may open into the garden, veranda or sun-parlor. The position of the fire-place depends largely upon the posi-tion of the room with regard to other rooms in the house, and so withevery structural feature which must be planned to meet the require-ments of just that room. Also, the habits and occupations of the fam-ily must be considered in the designing of the nooks andcorners whichadd such interest to a living room. The writer would rejoice in anample desk, full of pigeon-holes, drawers and cabinets, built into thewoodwork of the room, and so placed that work there would be adelight; the student would find equal comfort where the fire-placefitment or window recess included shelves or cases filled with books,conveniently near to settle or window-seat and somewhat secludedfrom the rest of the room; the children would take the happy interestof proprietorship in a corner all their own, especially if it should bea deep recess giving almost the feeling of a little room, where a lowwindow-seat, well-cushioned and substantial, covered a set of lockersfor toys, and was flanked on either side by easily-reached shelves forbooks. It the living room should be also the family dining room,cupboards and dishes would naturally be built in as well as book-cases, and would add another interesting structural feature, andperhaps, in a room of irregular design, a recess just fitted for thedining table would come naturally into the plan.The structural variations of a living room are endless. Only onething must be kept in mind if the room is to be satisfactory as a whole,-and that is a central point of interest around which the entire placeis furnished. This gives the key-note both as to structure and colorscheme. It may be a well-planned Are-place fitment, with cup-boards, shelves or high casement windows on either side of themantel-breast,- which itself strikes a rich color-note with its bricksor tiles and metal hood; or it may be a window commanding the bestof the view, or a sideboard built into a recess, or a cupboard or book-case that dominates the whole side of the room. Any commandingfeature in the structure of the room itself will serve as this center ofinterest; if there are several, the question of relative importance will

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THE LIVING ROOMbe easily settled, for there can be only one dominant point in a well-planned room. The English thoroughly understand the importanceof this, and the charm of their houses depends largely upon the skilfularrangement of interesting structural features around one center ofattention to which everything else is subordinate. To illustrate this,several black-and-white drawings of typical English interiors arepublished with this article, each one showing the main point ofinterest in an actual English living room. These drawings alsoillustrate how well the English understand the charm of the recess ina large room. This is well expressed by a prominent English archi-

LJ VING ROOM WITH INGLE NOOK AND SRTTLRS

tect of the new school, who writes: Many people have a feelingthat there is a certain coziness in a small room entirely unattainablein a large one; this is a mistake altogether; quite the reverse has beenmy experience, which is that such a sense of coziness as can be got inthe recesses of a large room, can never be attained in a small one.But if your big room is to be comfortable it must have recesses.There is a great charm in a room broken up in plan, where that slightfeeling of mystery is given to it which arises when you cannot see thewhole room from any one place in which you are likely to sit; whenthere is always something round the corner.64



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THE LIVING ROOMOST important is the part played by the woodwork in giving

M,he element of interest to a room. Where it is possible, thestructural features that actually exist in the framework shouldbe shown and made ornamental, for the decorative properties inherentin the construction are much better than any kind of ornamentalwoodwork applied or dragged in. In many cases, however, it isimpracticable to show the actual framework of the house. The realbeams which support the ceiling are apt to be anything but ornamentalafter the plasterer has done his work, even if they are made of a woodwhich could be used to good effect in the interior trim. This last isI I

BUILT-IN BOOKCASES OCCUPYING WHOLE SIDE OF BOOM

not often the case with the framework of a house, and such portionsof it as are allowed to show are usually masked with a sheathing ofthe handsomer wood used in the trim of the room. This sheathing,though, should be so handled that it partakes of the plain and solidcharacter of the framework. Where it is not advisable to show theactual ceiling beams, ornamental beams may be used to give theneeded effect, but they must be so placed that they are entirelyprobable. False beams that could perfectly well carry the weightthat appears to rest upon them, and are structurally correct in propor-



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THE LIVING ROOMthe light that comes into the room. The best-planned color schememay be ruined by the quality of light that streams through the windowcurtains,-or the windows themselves, if tinted or stained glass isused,-or it may be given the last touch of perfection by a light effectas rich and subtle as that seen in some of the rare old cathedralsabroad.A OOM that is structurally inte

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