DOI Heft:
No. 215 (January 1915)
DOI Artikel:A visit to Washington headquarters
DOI Artikel:Price, C. Matlack: The city house palatial: a study in architectureal evolution
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.43457#0244
The City House Palatial
the sanded floor. The dried apples on the wall,
the red peppers festooning the fireplace, and
the iron candlesticks, suggest the picture of a
larger kitchen where an old woman is reading her
Bible by the sickly glimmer of a tallow dip, her
surroundings half lost in great, shadowy spaces.
In the Spinning-Room all the small wheels from
the garret are huddled together like a flock of
frightened things under the protection of the big
wheel. The yarn on the reel was spun on the
occasion of the ladies’ garden party in May, by
Aunt Susan, aged eighty, and the linen thread on
the flax wheel by a German spinner, and they con-
tinued to spin for a week in the “movies” at the
Harlem Opera House—and they are still spinning.
This work was admirably scened by Mr. Shelton,
the genial curator of the Museum, assisted by
Mrs. William R. Stewart, the president of the
Washington Headquarters Association, founded by
the Daughters of the American Revolution, and a
committee including Mrs. Henry Alloway, Mrs.
William Arrowsmith, Mrs. J. H. Crossman, Miss
Mary E. Brackett and Mrs. Simon Baruch.
W. H. N.
The city house palatial: a
STUDY IN ARCHITECTURAL
EVOLUTION
BY C. MATLACK PRICE
Architecture, like all other arts, is full of
problems, and while the artist (which means the
architect) is expressing his aesthetic convictions
and abilities as well as he can, he must also address
himself most diligently to the solution of these
problems. The dramatist must not become so
interested in some purely dramatic passage of his
work at the expense of the technical structure of
an act, or a poet become so engrossed in a flight
of verbal rhapsody that he forgets there should
only be fourteen lines in a sonnet
And in no degree differently, while an architect
is considering the profile of a moulding or the "feel-
ing” in a piece of ornament, he is called upon to
solve certain definite and difficult problems which
are as much a part of the art of architecture as
prosody and versification are a part of poetry.
When it is considered how many problems are
involved in the successful design of a city house
INNER COURT WITH FOUNTAIN-THE J. HARPER POOR RESIDENCE
LXXXII
the sanded floor. The dried apples on the wall,
the red peppers festooning the fireplace, and
the iron candlesticks, suggest the picture of a
larger kitchen where an old woman is reading her
Bible by the sickly glimmer of a tallow dip, her
surroundings half lost in great, shadowy spaces.
In the Spinning-Room all the small wheels from
the garret are huddled together like a flock of
frightened things under the protection of the big
wheel. The yarn on the reel was spun on the
occasion of the ladies’ garden party in May, by
Aunt Susan, aged eighty, and the linen thread on
the flax wheel by a German spinner, and they con-
tinued to spin for a week in the “movies” at the
Harlem Opera House—and they are still spinning.
This work was admirably scened by Mr. Shelton,
the genial curator of the Museum, assisted by
Mrs. William R. Stewart, the president of the
Washington Headquarters Association, founded by
the Daughters of the American Revolution, and a
committee including Mrs. Henry Alloway, Mrs.
William Arrowsmith, Mrs. J. H. Crossman, Miss
Mary E. Brackett and Mrs. Simon Baruch.
W. H. N.
The city house palatial: a
STUDY IN ARCHITECTURAL
EVOLUTION
BY C. MATLACK PRICE
Architecture, like all other arts, is full of
problems, and while the artist (which means the
architect) is expressing his aesthetic convictions
and abilities as well as he can, he must also address
himself most diligently to the solution of these
problems. The dramatist must not become so
interested in some purely dramatic passage of his
work at the expense of the technical structure of
an act, or a poet become so engrossed in a flight
of verbal rhapsody that he forgets there should
only be fourteen lines in a sonnet
And in no degree differently, while an architect
is considering the profile of a moulding or the "feel-
ing” in a piece of ornament, he is called upon to
solve certain definite and difficult problems which
are as much a part of the art of architecture as
prosody and versification are a part of poetry.
When it is considered how many problems are
involved in the successful design of a city house
INNER COURT WITH FOUNTAIN-THE J. HARPER POOR RESIDENCE
LXXXII