DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.43446#0482
3°
THE INTERNATIONAL STUDIO
March, ign
The Beautiful Wall Tint
Has Been Used Over a Quarter of a Century
IT HAS proved more artistic, exclusive and durable than any
other wall covering. Alabastine permits more individual and
artistic decoration than wall paper or paint at a fraction of the
cost. It is too superior to be compared with any grade of kalso-
mine, costs a trifle more—no more to put on—lasts longer, does not
chip, peel or rub off when properly applied, and is absolutely
sanitary.
Alabastine is ready for use when mixed with cold water and covers
more wall surface per pound than any other decorating material.
A new coat may be applied directly over the old without the expense of
washing the old Alabastine off the walls. Alabastine is specified by
architects as the ideal decoration for new homes. Full Five-Pound
Package: White, 50c.; Regular Tints, 55c.
Library Slips in Every Package
We prepare special color plans and designs for users of Alabastine
—without charge, also supply stencils. Write for samples
of Alabastine wall and ceiling decoration. Shall we send
name of your nearest Alabastine man?
Alabastine Company AkSf!
532 Grandville Road, Grand Rapids, Mich.
Desk 32-105 Water Street, New York City
This is a TRUE CONCRETE house in the Connecticut Valley, one of the very
few real Concrete houses in the East. It is cast in one piece, and with the exposed
finish, which means that (1) there are no joints in which mortar disintegrates, and (2) no
cement plaster (stucco) on the surface to crack and peel from our Northern frosts. The
surface has a beautiful mellow bloom from the exposure of the stone in the Concrete
and is indestructible.
This house costs no more to build than good brick construction of the same dimensions
and is far more beautiful and in harmony with its surroundings. Write for information to
BENJAMIN A. HOWES
Engineer and Builder
17 W. 38th ST. BOOKLET OF UNBURNABLE HOUSES BUILT BV US SENT ON REQUEST N. Y. CITY
that the total height including the bust is
fourteen feet three inches. Wherever
placed it will be a conspicuous object.
Before reaching a conclusion the committee
took occasion to observe the bronze busts
of Mazzini and Beethoven, which are now
in Central Park, and which are similar in
their general character as works of art to
the proposed bust and pedestal, though
possibly somewhat smaller, and they were
impressed by the unsuitability of sculpture
of this description for any site where lawns,
shrubbery and trees are the principal and
natural features. The examples men-
tioned illustrate the inappropriateness of
placing busts and pedestals of the char-
acter now offered in such locations, and
demonstrate that such statuary is a detri-
ment rather than an acquisition to our
public parks. Works of art of such char-
acter are entirely unsuitable for such sites
irrespective of their individual artistic
merit.”
Curiously, many of those submitting
monuments seem to think that, because the
commission disapproves of a site as being
unsuited to the particular monument, it is
thereby condemning the monument itself
or slighting the person or event which it is
intended to commemorate. It goes with-
out saying that the Commission is in full
sympathy with every effort to honor those
to whom honor is due, but is solicitous not
to dishonor them by honoring them in an
unsuitable place. We believe, moreover,
that a monument should be so placed as
not only to recall grateful memories of the
person but to be a distinct ornament to the
place in which it stands.
While definite rules cannot be laid down
for the location of monuments any more
than rules can with finality be given for the
composition of a picture or of a group of
sculpture, yet certain fundamental prin-
ciples are very evident. A monument
should be so placed that it is in proper re-
lation both architecturally and sculpturally
to the spot in which it is located, be it
street, square or park; that its commemo-
rative or particular character is in harmony
with its surroundings, and that it is and
will remain a distinct adornment to the
locality in which it stands. The probable
permanence of appropriate surroundings
should also be considered, for changes in
the character and occupancy of adjacent
buildings have frequently turned harmony
into discord.
These principles in general govern the
Art Commission decisions on the location
of every monument. But these simple
principles are frequently entirely ignored
by those who offer monuments to the city.
They seem to think that any unoccupied
space in the streets or parks is suitable for
any kind of a monument provided only
that it is conspicuous. Whether the place
suits the character of the monument or the
monument is appropriate to the place is
not considered.
The International Exposition of Art and
I-Iistory at Rome, Italy, is scheduled to
open March 27. Harrison S. Morris is the
commissioner general for this country.
The Italian authorities guarantee the sale
of works exhibited to the amount of
$100,000. They also offer $40,000 in
prizes, as follows: Two of $10,000, four of
$2,000 and six of $1,000 to painting and
sculpture; $6,000 in various sums to illus-
tration, engraving and critical studies.
THE INTERNATIONAL STUDIO
March, ign
The Beautiful Wall Tint
Has Been Used Over a Quarter of a Century
IT HAS proved more artistic, exclusive and durable than any
other wall covering. Alabastine permits more individual and
artistic decoration than wall paper or paint at a fraction of the
cost. It is too superior to be compared with any grade of kalso-
mine, costs a trifle more—no more to put on—lasts longer, does not
chip, peel or rub off when properly applied, and is absolutely
sanitary.
Alabastine is ready for use when mixed with cold water and covers
more wall surface per pound than any other decorating material.
A new coat may be applied directly over the old without the expense of
washing the old Alabastine off the walls. Alabastine is specified by
architects as the ideal decoration for new homes. Full Five-Pound
Package: White, 50c.; Regular Tints, 55c.
Library Slips in Every Package
We prepare special color plans and designs for users of Alabastine
—without charge, also supply stencils. Write for samples
of Alabastine wall and ceiling decoration. Shall we send
name of your nearest Alabastine man?
Alabastine Company AkSf!
532 Grandville Road, Grand Rapids, Mich.
Desk 32-105 Water Street, New York City
This is a TRUE CONCRETE house in the Connecticut Valley, one of the very
few real Concrete houses in the East. It is cast in one piece, and with the exposed
finish, which means that (1) there are no joints in which mortar disintegrates, and (2) no
cement plaster (stucco) on the surface to crack and peel from our Northern frosts. The
surface has a beautiful mellow bloom from the exposure of the stone in the Concrete
and is indestructible.
This house costs no more to build than good brick construction of the same dimensions
and is far more beautiful and in harmony with its surroundings. Write for information to
BENJAMIN A. HOWES
Engineer and Builder
17 W. 38th ST. BOOKLET OF UNBURNABLE HOUSES BUILT BV US SENT ON REQUEST N. Y. CITY
that the total height including the bust is
fourteen feet three inches. Wherever
placed it will be a conspicuous object.
Before reaching a conclusion the committee
took occasion to observe the bronze busts
of Mazzini and Beethoven, which are now
in Central Park, and which are similar in
their general character as works of art to
the proposed bust and pedestal, though
possibly somewhat smaller, and they were
impressed by the unsuitability of sculpture
of this description for any site where lawns,
shrubbery and trees are the principal and
natural features. The examples men-
tioned illustrate the inappropriateness of
placing busts and pedestals of the char-
acter now offered in such locations, and
demonstrate that such statuary is a detri-
ment rather than an acquisition to our
public parks. Works of art of such char-
acter are entirely unsuitable for such sites
irrespective of their individual artistic
merit.”
Curiously, many of those submitting
monuments seem to think that, because the
commission disapproves of a site as being
unsuited to the particular monument, it is
thereby condemning the monument itself
or slighting the person or event which it is
intended to commemorate. It goes with-
out saying that the Commission is in full
sympathy with every effort to honor those
to whom honor is due, but is solicitous not
to dishonor them by honoring them in an
unsuitable place. We believe, moreover,
that a monument should be so placed as
not only to recall grateful memories of the
person but to be a distinct ornament to the
place in which it stands.
While definite rules cannot be laid down
for the location of monuments any more
than rules can with finality be given for the
composition of a picture or of a group of
sculpture, yet certain fundamental prin-
ciples are very evident. A monument
should be so placed that it is in proper re-
lation both architecturally and sculpturally
to the spot in which it is located, be it
street, square or park; that its commemo-
rative or particular character is in harmony
with its surroundings, and that it is and
will remain a distinct adornment to the
locality in which it stands. The probable
permanence of appropriate surroundings
should also be considered, for changes in
the character and occupancy of adjacent
buildings have frequently turned harmony
into discord.
These principles in general govern the
Art Commission decisions on the location
of every monument. But these simple
principles are frequently entirely ignored
by those who offer monuments to the city.
They seem to think that any unoccupied
space in the streets or parks is suitable for
any kind of a monument provided only
that it is conspicuous. Whether the place
suits the character of the monument or the
monument is appropriate to the place is
not considered.
The International Exposition of Art and
I-Iistory at Rome, Italy, is scheduled to
open March 27. Harrison S. Morris is the
commissioner general for this country.
The Italian authorities guarantee the sale
of works exhibited to the amount of
$100,000. They also offer $40,000 in
prizes, as follows: Two of $10,000, four of
$2,000 and six of $1,000 to painting and
sculpture; $6,000 in various sums to illus-
tration, engraving and critical studies.