Abdul Aziz, the predecessor of the present Sultan of Turkey, had so great a fondness for building that his extravagance in this respect was one of the causes which led to his downfall. The Dolma Bagtche palace, erected directly upon the shores of the Bosphorus from the designs of Balzan, an Armenian architect, suggests Spanish work of the sixteenth century. In Constantinople and at Therapia,—a summer resort at the northern end of the Bosphorus,—many of the foreign governments have built official residences for their representatives.
GLASS COVERED ARCADE, MILAN.
As for the architecture of our near neighbors on the north, the buildings of Canada have been sturdy and substantial rather than comely; but the long continuance of cold weather and the lack of means have often hampered the builders. Since the completion of the Canadian Pacific Railroad, the prosperity of city and country seems more assured; the older cities growing in importance and extent, and new towns springing up along the line to the West. In Ottawa the Parliament Buildings and the octagonal Library, in Toronto, and, to some extent, in Montreal, the Universities’ buildings, are Victorian Gothic. The later buildings of the University in Montreal, excepting the Girls’ College, are not so interesting; but there are two railroad stations, a hotel, cathedral, with several banks, insurance buildings, and residences that call for more than passing notice. Perhaps the finest building in all Canada is the Château Frontenac, in Quebec,—built by Bruce Price of New York,—on the Dufferin Terrace, overlooking the St. Lawrence River, and commanding a view that is hardly surpassed on the Bosphorus, the Rhine, or the Hudson.
Although the history of architecture in America cannot be written without some reference to contemporary work in Europe,—since so much of our architecture in the first half of the century is adopted from that of our ancestors and adapted to our uses, and in the last half so many of our architects have studied there and so many of our citizens have traveled there,—the problems and their conditions in the Old World are very different from those of the New. Europe was already mature when steam and electricity were introduced; precedent was always to be considered, and modern requirements were often forced to conform to existing circumstances. There has, therefore, been comparatively less change there during the century than during the past thirty years with us. With our republican institutions, many of the monarchical formulas soon became obsolete, though the general trend of our architecture has been in the direction of classic models. As the country has grown larger and more wealthy, the problems given to architects have become more complex; less reliance could be placed upon precedent and a premium was placed upon originality, which, in spite of innumerable vagaries, has brought American architecture, at the end of the century, to be the most notable of the day.
At the end of the eighteenth century, this republic consisted of hardly more than a number of communities extending at intervals along the Atlantic seaboard, with an occasional settlement beyond the Alleghany Mountains and across the Ohio River. Their resources were extremely limited, their wants very few, and their intercommunication irregular; but their methods of living were simple and frugal, and their courage and endurance phenomenal.
Among the settlers of New England were many mechanics and manufacturers, and these soon began to replace the primitive log cabins with frame dwellings; those of the Southern States were chiefly planters, who imported much of their labor, and often the bricks as well as the glass, hardware, tiles, and other materials for their houses. Many of those who colonized the Middle States had come from countries in Europe where these materials were made, and brought their secrets with them, while others were farmers and stock growers, whose snug little cottages and enormous barns may be seen to this day in New York and Pennsylvania.
At the beginning of the nineteenth century we possessed a national style of architecture, which, although it had come to us from Italy, through France and England, was yet distinctly American. It was, however, almost exclusively confined to residences, and there were very few public buildings of any description, except certain churches,—said to have been designed by followers of Sir Christopher Wren, some of whom were doubtless ship carpenters who had studied the works of Sir William Chambers.
