and the world, fine types of Indians, and other races; the negro heads being known among artists as the best of their kind; ornamentation symbolic of music, art, science, and commerce, is used as an integral part of this great public edifice, an inherent factor in true decoration, where it comes into its own, as well as in gardens, parks, boulevards, and plazas. Statues outside, on City Hall pavement, are, General John F. Reynolds, by Rogers; General McClellan; the Pilgrim by Saint Gaudens; the Quaker by Giuseppe Donato; Stephen Girard and John Wanamaker by J. Massey Rhind; Joseph Leidy, M.D.; President McKinley, and John C. Bullitt. College of Physicians, Twenty-second Street, above Chestnut, English; built, 1910; architects, Cope & Stewardson. Dropsie College, Broad Street below York, French; architects, Pitcher & Tachau. Hamilton Court, Thirty-ninth and Chestnut Streets, Italian; steel frame faced with brick and limestone; an apartment house built around an open court, recalling very strongly, both in color and detail, the earlier Venetian palaces. Memorial Hall, Fairmount Park, German, granite; built, 1876; architect, Herman J. Schwarzmann; one of the best designed monumental buildings in the city. Union League addition, Fifteenth and Sansom Streets, Italian; steel frame, faced with limestone; built, 1912; architect, Horace Trumbauer: a very dignified and restrained elevation, suggestive of a Roman palace.
Spanish. The First Church of Christ Scientist, Walnut Street above Fortieth; architects, Carrere & Hastings. Pennsylvania Institute for the Instruction of the Blind, Overbrook; Spanish mission; architects, Cope & Stewardson.
English. Mellor, Meigs and Howe Office, 205 South Juniper Street, rough brick; architects, Mellor & Meigs.
The Athenaeum of Philadelphia, 219 South Sixth Street; architect, John Notman; has best points of work done in 1850, showing traditions of the past, with developments and characteristics of its own; interior has a most beautiful reading room. The University Buildings, from Thirty-fourth to Fortieth Streets, Walnut Street to Woodland Avenue, add much to the architectural attraction of West Philadelphia; entrances to the campus, near the dormitories, are fine Tudor gateways, wrought iron, with brick and stone piers. (See University of Pennsylvania.) Hon. James Arthur Balfour said in 1917, “The Americans build Brobdignagian cathedrals, and use them for office buildings.” The Skyscrapers. Adelphia Hotel, Thirteenth and Chestnut Streets, Italian Renaissance, brick and terra cotta; built, 1914; architect, Horace Trumbauer; the arabesque detail on lower stories of the façade, and pattern formed by projecting bricks, on the stories above, are worthy of notice; interiors are pleasing and architecturally correct. Bell Telephone, a Parkway building, corner of Seventeenth and Arch Streets; height above ground 273 feet; stone; with interesting façade; architect, John T. Windrim. Bellevue-Stratford Hotel, southwest corner Broad and Walnut Streets, French Renaissance; steel frame, faced with terra cotta; architects, Hewitt Bros. Most beautifully proportioned and artistic business building in Philadelphia. Bourse, Fourth to Fifth Streets, below Market; adaptation of the François Premier; with fine feeling of dignity, in placing within the broad paving; architects, Hewitt Bros. Bulletin Building, Juniper and Filbert Streets, French; steel frame, faced with terra cotta; architect, Edgar V. Seeler. Curtis Publishing Company, Sixth and Walnut Streets, modern adaptation of Georgian; steel frame, faced with white marble and brick; built, 1910; architect, Edgar V. Seeler; faces Independence Square, and although thoroughly modern, harmonizes perfectly, both in color and design, with the historic Georgian group, of which Independence Hall is the center, and adds to the quiet colonial atmosphere of the Square; interior is excellently designed; entrance, lobby, editorial offices, and the employes’ dining room being of particular interest. Mechanical equipment is the finest of its kind in the world, producing an average of 5,558,600 complete paid for publications per issue of the Ladies’ Home Journal, Saturday Evening Post, and The Country Gentleman for six months ending June 30, 1924. Twenty original paintings, and the mosaic “The Dream Garden,” by Maxfield Parrish, a mural made of Tiffany favrile glass, the work proceeded through an entire year, in the Tiffany Studios, where each piece of glass was fired under the personal supervision of Mr. Tiffany and Mr. Briggs; time can never impair its freshness, color, or luminosity. Visitors will be shown the entire plant daily, except Saturdays and Sundays, between 9.00 A.M. and 5.00 P.M. Farm Journal, Seventh Street and Washington Square, Georgian; colonial brick and Indiana limestone; architects, Bunting & Shrigley. Harrison Building, Fifteenth and Market Streets, François Premier; built, 1895; architects, Cope & Stewardson; an unusual example of well-studied, though elaborate Renaissance detail; notice the graceful roof, recalling the charming chateaux along the Loire. Land Title Building, southwest corner of Broad and Chestnut Streets, modern adaptation of classic; steel frame, faced with gray granite and brick; architects, D. H. Burnham & Co., Chicago; contrast the scale of the order, in the newer portion of the building on Broad Street entrance, with the insignificant order in the old building. Manufacturers’ Club, Broad and Walnut Streets, Italian Renaissance; built, 1914; steel frame, faced with limestone; architects, Simon & Bassett; has a handsome façade, crowned by a daring Florentine cornice; interior unusually interesting in detail. Racquet Club, Sixteenth Street below Walnut, Georgian; colonial brick, marble trimmings; architect, Horace Trumbauer. Real Estate Trust Building, southeast corner of Broad and Chestnut Streets, Renaissance; architect, Edgar V. Seeler. Ritz-Carlton Hotel, Broad and Walnut Streets, modern adaptation, style of the Adam Brothers; built, 1912; steel frame, faced with colonial brick and Indiana limestone; architects, Warren & Wetmore, New York, Horace Trumbauer, Philadelphia, associate. The keynote of this structure is refinement and good taste; a recognition of the fact that commercialism and good architecture are by no means incompatible. Stephen Girard Building, Twelfth and Girard Streets, modern adaptation of Greek classic; built about 1894; steel frame, faced with brick and marble; architect, John T. Windrim; details of this building are interesting; note the bronze caryatid figures which support the heads of the second story windows; the wrought iron gates to the court on Girard Street rank with the best modern wrought ironwork in the city. Wanamaker Store, Chestnut, Market, Juniper, and Thirteenth Streets, modern adaptation of Italian Renaissance, built, 1910; steel frame, with light gray granite; architects, D. H. Burnham & Co., Chicago; exterior of this store is one of the finest in the city, it is simple, dignified, and impressive, without being monotonous; the great scale of the Doric order at the base, the severe wall treatment, and the splendid cornice, combine to express a purity and loftiness seldom equaled in commercial buildings; a guide may be had, upon application, who will conduct visitors through the entire building including the kitchens. West Philadelphia High School, Forty-sixth and Walnut Streets, Tudor Gothic; rough brick and Indiana limestone; built, 1913, by the City Architect. Widener Memorial Home for crippled children, Broad Street and Olney Avenue, Georgian, built, 1906; Harvard brick and marble trimmings; architect, Horace Trumbauer; has a very beautifully designed wrought iron gateway.
To make a “City Beautiful” is to give it wide streets, lined with handsome buildings and houses, plenty of parks, boulevards, and to rid it of rows upon rows of semi-shanty premises, small, ill-kept, and unattractive. Each new building that is put up within the city limits should, in its arrangements and architecture, help toward making the locality in which it is erected more attractive than at the present time. This idea has been carried out in the Carnegie Free Library buildings, scattered about within the limits of the municipality, as their varied exteriors are very distinguished, from an architectural point. The interiors are designed to avoid the multiplication of corridors; principal rooms used for reading, the art and reference rooms, are stately and fine.
An interesting Gateway is the entrance to the Manheim Cricket Club, Germantown, Georgian; consisting of massive brick piers, surmounted by stone caps, connected at the top with a wrought iron supporting lantern, below which are the heavy wrought iron central gates; this, with smaller gateways, and a most attractive brick wall, forms the enclosure for the grounds; architects, McKim, Mead & White.
ART COLLECTIONS AND ART SCHOOLS
Philadelphia being the seat of government of colonial times, is extremely rich in historic portraits. They are in The Pennsylvania Academy of the Fine Arts; Independence Hall; Historical Society of Pennsylvania; Carpenters’ Hall; American Philosophical Society; Pennsylvania Hospital; Academy of Natural Science; The Library Company of Philadelphia; Mercantile Library; College of Physicians; United States Mint; University of Pennsylvania; many banks and insurance companies.
Pennsylvania Academy of the Fine Arts, Broad Street above Arch; open free daily, 9.00 A.M. to 5.00