If my readers will give themselves the trouble to glance at several office buildings in the city, they will realize that the problem is not without a solution. In almost every case where the architect has refrained from useless decoration and stuck to simple lines, the result, if not beautiful, has at least been inoffensive. It is where inappropriate elaboration is added that taste is offended. Such structures as the Singer building, corner of Liberty Street and Broadway, and the home of Life, in Thirty-first Street, prove that beauty and grace of façade can be adapted to modern business wants.
Feeling as many New Yorkers do about this defacing of what might have been the most beautiful of modern cities, it is galling to be called upon to admire where it is already an effort to tolerate.
A sprightly gentleman, writing recently in a scientific weekly, goes into ecstasies of admiration over the advantages and beauty of a steel mastodon on Park Row, a building that has the proportions of a carpenter’s plane stood on end, decorated here and there with balconies and a colonnade perched on brackets up toward its fifteenth story. He complacently gives us its weight and height as compared with the pyramids, and numerous other details as to floor space and ventilation, and hints in conclusion that only old fogies and dullards, unable to keep pace with the times, fail to appreciate the charm of such structures in a city. One of the “points” this writer makes is the quality of air enjoyed by tenants, amusingly oblivious of the fact that at least three façades of each tall building will see the day only so long as the proprietors of adjacent land are too poor or too busy to construct similar colossi!
When all the buildings in a block are the same height, seven eighths of the rooms in each will be without light or ventilation. It’s rather poor taste to brag of advantages that are enjoyed only through the generosity of one’s neighbors.
Business demands may force us to bow before the necessity of these horrors, but it certainly is “rubbing it in” to ask our applause. When the Eiffel Tower was in course of construction, the artists and literary lights of Paris raised a tempest of protest. One wonders why so little of the kind has been done here. It is perhaps rather late in the day to suggest reform, yet if more New Yorkers would interest themselves in the work, much might still be done to modify and improve our metropolis.
One hears with satisfaction that a group of architects have lately met and discussed plans for the embellishment of our neglected city. There is a certain poetical justice in the proposition coming from those who have worked so much of the harm. Remorse has before now been known to produce good results. The United States treasury yearly receives large sums of “conscience money.”
CHAPTER 7—Worldly Color-Blindness
Myriads of people have no ear for music and derive but little pleasure from sweet sounds. Strange as it may appear, many gifted and sensitive mortals have been unable to distinguish one note from another, Apollo’s harmonious art remaining for them, as for the elder Dumas, only an “expensive noise.”
Another large class find it impossible to discriminate between colors. Men afflicted in this way have even become painters of reputation. I knew one of the latter, who, when a friend complimented him on having caught the exact shade of a pink toilet in one of his portraits, answered, “Does that dress look pink to you? I thought it was green!” and yet he had copied what he saw correctly.
Both these classes are to be pitied, but are not the cause of much suffering to others. It is annoying, I grant you, to be torn asunder in a collision, because red and green lights on the switches combined into a pleasing harmony before the brakeman’s eyes. The tone-deaf gentleman who insists on whistling a popular melody is almost as trying as the lady suffering from the same weakness, who shouts, “Ninon, Ninon, que fais-tu de la vie!” until you feel impelled to cry, ”Que faites-vous, madame, with the key?”