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DRAWING BY JOHN DI MARIANO.
PROF. WARREN'S LECTURES
Tue Founpations or C1 ARCHI-
TECTURE. By Herbert Langford War-
ren. Illustrated from Documents and
Original Drawings; 10x71! inches,
349 pp. and index. New York: The
Macmillan Co.
HIS one
ASstc
deserves to become standard works of an library. Its searching
volume of the
hitect’s
tc
survey of the field of the archite:
ar
antiquity ; its keer alysis of t iples of Greek art, came at an opportune moment in our fast evolving architectural development. It may be surmised that we are on the eve of another muild. ing era, similar to the one that arrived with the twentieth century, when, all over the country, a great civic, public type of architecture was set up. under the leadership of McKim, Cass Gilbert, Hast- urnham, Coc Peabody. hing development is bound form and This
great
ings, Post, idge The appr to continue the evolution of style which the past one began evolution seems to have lagged somewhat during the last decade, since when the en- thusiasm for our monumental architec- ture has been largely transferred to our domestic and small town types.
In the approaching development it is likely that there will be an appraisal of our monumental types of design, even though it may not throw much new light upon them. In this period immediately
EN’S LEGTURES
following the war all fields of activit are being analyzed—often with little re- sult, the process being sometimes a mere that noted all over the which pervades all classes « people. At any rate, as long as we stick to neo-classic and Renais forms f¢ monumental buildings, there is bound to be impatience and attack on methods. To meet this att within the profession or outside the pu the onslaught in both press and magazit upon the des: the Victory Arch New York—it may do no harm to under nd fully the bases of Greek design forth with such extraordinary clear and imagination by the late Profes sor Warren. In fact, as one reads t one quickly arrives at the sensa tion that his mind is being suddenly re freshed after having become drowsy through viewing the constant procession of mechanical and perfunctory designs of the orders that meets his eye as he walks the streets of American cities. When one is brought face to face, even through the pages of a with the magnificent pi nt of the ancient art of the eastern Mediterranean Sea, its splendid power, s exalted geometry, its form its sunlit and decoration, its su- preme union of simple purity with senstt-
- it is as fter passin
restlessness is
world ance existing whether it, fror as in the recent episode
ack
ness
book perfect color
ous richnes
166
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