International studio (25.1905)

7A<?


from the heavy old gentleman who brings up the
rear to the doughty little fox which leads the
cavalcade. The figures are strongly outlined, and
the colors are laid on hat; the highest light is a deep
ivory, the deepest shade a slaty gray, and the most
brilliant red (the huntsman's coat), only a shade of
brown. Nothing but earth colors were used, and a
month after the painting was completed the whole
was scrumbled over with a preparation of pigment


THE ENTRANCE DOOR. ROCHESTER COUNTRY CLUB
Ay th. .H*. Ac y.)

and oil, to give it the tone of time, so that it has now
the character of some yellow old Japanese print.
The feature of the dining room is its stenciled
frieze of bright-colored roosters, perched on a
gnarled and twisted vine, among green leaves and
clusters of purple grapes. Here, as in the assembly
hall, the plainness of the fireplace has been miti-
gated by incrusting green and blue tiles directly in
the brick work. The low wainscot and heavy-
beamed ceiling are treated as in the hall, and when
the broad folding doors are thrown open, the two
become, for practical purposes of dining or of danc-
ing, a single great apartment.
The men's cafe is wainscoted to a height of six
feet, and on the strip of plaster between the top of
the wainscot and the ceiling, Mr. Penheld has sten-
ciled a succession of polo players on a limitless field
of green, against an impossibly yellow sky. The
sombreness of so much dark woodwork is further
relieved by a great metal hood above the fireplace,
all of hammered brass and wrought iron, sustaining
a shelf for the display of the inevitable and ubiqui-
tous German beer mug. The engaging motto,
"Let the World Slide," is not modern slang, as
might be supposed, but a quotation from Shakes-
peare, in whose day it was modern slang, perhaps,
for it is found in Beaumont and Fletcher as well.
The room contains several fine examples of the
taxidermist's art, and some sporting prints repre-
senting "moving accidents by flood and field."
The building here described and pictured is
remote, small and cheap, compared with many
others of it's sort, but it has seemed worth presenting
to readers of THE INTERNATIONAL STUDIO for the
reason that it embodies certain qualities and repre-
sents certain principles too little recognized and
regarded in modern American architecture.
First, it is honest. Now, honesty, as Stevenson
has said, is neither as common nor as easy as many
persons seem to suppose, and this is not less true in

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