DOI issue:
The international Studio (September, 1907)
DOI article:Saylor, Henry H.: An American village bank
DOI Page / Citation link:https://doi.org/10.11588/diglit.28252#0458
An American Village Bank
not appeal must
surely feel the
charm and quaint
dignity of the inte-
rior. The count-
ing-room opens up
spaciously to a
ceiling whose buff,
sand-finished plas-
ter is relieved by
heavy beams of red
oak. The screen
walls, shutting off
BRACKET
BY AYMAR EMBURY, 2D
window mullions, sash and half-timber work up under the eaves,
creosoted with a dark green stain. The windows are divided into
small panes by wide leads. A band of red brick, laid in a herring-
bone pattern, with green and white terra-cotta inserts, marks the
line of the second floor and contrasts beautifully with the sand-
stone and the woodwork. Consistent with the interior, this band is
not carried across the middle portion of the building, where the
counting-room extends unbroken from the first floor to the roof.
The line of color is strengthened by brick inserts in the stone piers
and by panels of terra-cotta, in buff, white and green, set into the
wall piers flanking the entrance. For the roof a red tile was the only
possible choice. Instead of the usual S-shaped tiles, which the archi-
tect felt would give a texture too rough and too large in scale, a
flatter tile is used—that known as the “French A-shaped.” Shad-
owed by the heavy overhang of the eaves, the intricate half-timber
work is felt to be in the best possible position, lending a depth and
brilliance to the shadows, which could hardly be otherwise obtained.
Solid timbers carried through masonry piers is a favorite motif of
Mr. Embury’s, and one that he has employed effectively in other
work. Its function here is to support a simple bronze arc-lamp
from each of the four pylons. Unfortunately, these had not yet
been hung when the pictures were made.
At the middle of the front elevation the interest centers on the
main entrance. Its low, tiled hood roof rests on the chestnut beams
that are carried through the masonry. Brick and leaded glass con-
nect the piers to the main wall, and brick nogging fills the gable end
over the lintel.
Retaining for its own use a part of the basement for vault storage
space, the bank leases the remaining space therein for three offices.
The main floor is divided as indicated in the plan that is here re-
produced. It provides for a large, well-lighted, and well-ventilated
working space, most of which is open to the second story ceiling,
and for three rooms for bank officers and depositors. The vaults and
janitor’s quarters are at the rear. lamp
Once inside the bank proper, even those to whom the exterior does standard
not appeal must
surely feel the
charm and quaint
dignity of the inte-
rior. The count-
ing-room opens up
spaciously to a
ceiling whose buff,
sand-finished plas-
ter is relieved by
heavy beams of red
oak. The screen
walls, shutting off
BRACKET
BY AYMAR EMBURY, 2D
window mullions, sash and half-timber work up under the eaves,
creosoted with a dark green stain. The windows are divided into
small panes by wide leads. A band of red brick, laid in a herring-
bone pattern, with green and white terra-cotta inserts, marks the
line of the second floor and contrasts beautifully with the sand-
stone and the woodwork. Consistent with the interior, this band is
not carried across the middle portion of the building, where the
counting-room extends unbroken from the first floor to the roof.
The line of color is strengthened by brick inserts in the stone piers
and by panels of terra-cotta, in buff, white and green, set into the
wall piers flanking the entrance. For the roof a red tile was the only
possible choice. Instead of the usual S-shaped tiles, which the archi-
tect felt would give a texture too rough and too large in scale, a
flatter tile is used—that known as the “French A-shaped.” Shad-
owed by the heavy overhang of the eaves, the intricate half-timber
work is felt to be in the best possible position, lending a depth and
brilliance to the shadows, which could hardly be otherwise obtained.
Solid timbers carried through masonry piers is a favorite motif of
Mr. Embury’s, and one that he has employed effectively in other
work. Its function here is to support a simple bronze arc-lamp
from each of the four pylons. Unfortunately, these had not yet
been hung when the pictures were made.
At the middle of the front elevation the interest centers on the
main entrance. Its low, tiled hood roof rests on the chestnut beams
that are carried through the masonry. Brick and leaded glass con-
nect the piers to the main wall, and brick nogging fills the gable end
over the lintel.
Retaining for its own use a part of the basement for vault storage
space, the bank leases the remaining space therein for three offices.
The main floor is divided as indicated in the plan that is here re-
produced. It provides for a large, well-lighted, and well-ventilated
working space, most of which is open to the second story ceiling,
and for three rooms for bank officers and depositors. The vaults and
janitor’s quarters are at the rear. lamp
Once inside the bank proper, even those to whom the exterior does standard