In the field of decoration, White had established a place for himself unlike that of any architect. He was accustomed to make trips to Europe to secure collections of various kinds. He would get materials for a Francis I. room or a Louis XVI. room, bring them home, and store them to be sold later to some rich man who was looking for fads in household decorations. Sometimes he would collect windows and doors. At other times he would scour France and Italy for hangings and draperies.
After the tragedy there was great diversity of opinion in the architectural world as to White’s standing as an architect. Some of the architects did not hesitate to say that he was the greatest in the profession in his country since H. H. Richardson. Others asserted that he shone largely by the reflected light of his partners, McKim and Mead. It is certain that no architect was called upon oftener to serve on juries to pass upon the merits of designs for the great buildings of the country than White.
Those who decried his abilities said that much of the work ascribed to White was really the work of McKim or Mead. Their tastes ran to the severely classic designs and to what is known as the field of pure architecture. It was declared that White, a disciple of the French and Italian schools, could not have designed many of the buildings for which he got credit as a member of the firm of McKim, Mead & White. One architect said:
“The Boston Public library, the Columbia university buildings, the Villard house, the agricultural building at the Chicago World’s Fair, and other creations of the McKim firm were not and could not have been designed by White. All through them runs the genius of Mr. McKim. White ran to the lighter style of architecture, the florid, the modern, and not to the Grecian or the severe and monumental style of purely classic architecture.
“His mood was that of gayety and it expressed itself in his designs. The bases of St. Gaudens statues lent themselves to his mood, and some of his best work was done in connection with them. He was essentially an artist rather than an architect, and his influence in his firm was along the lines of the artistic rather than along the strict standards of architectural expression.”
There were current also numerous stories regarding White’s private life that were not of the creditable kind. It is not too much to say that he was frequently under suspicion, but there was always something Lacking in a legal way so that no open scandal attached to his name, although evil reports were frequent. No action was taken by the investigators, however, because of lack of tangible evidence.
One incident that contributed much to White’s bad reputation and which illustrates forcibly his view of a “good time” was the “Girl-in-a-Pie” affair, which was later to come out in evidence at the trial.
The famed “Girl-in-the-Pie” dinner was given to several artists and men about town, with several notorious “fashionable” women in attendance. The spread cost $350 a plate.
At the approach of dawn, four negroes entered, bearing a huge pie, which they placed on the table. A faint stir was observed beneath the crust just as the orchestra struck up the air of the nursery jingle:
“Sing a song of sixpence, a pocket full of rye,
Four-and-twenty blackbirds baked in a pie.”