THE ARCHITECTURAL RECORD.
the apathy of the general public towards
the subject. A certain amount of promi-
nence was recently given to the dedica-
tion of a church of considerable architec-
tural pretension. Space was consumed in
describing its interior and the ceremony,
and in enumerating the notabilities attend-
ing the consecration, but the architect’s
name was omitted by the majority of the
great dailies.” Had their critics, in review-
ing a musical recital, described the scene,
the music and the occupants of the boxes,
but forgotten the name of the virtuoso,
there is little doubt that such an omission
would have provoked the comment of each
reader.
In these days of American architectural naissance, many buildings arise that should carry the names of their authors to pos- terity. The main difficulty has been to de- termine the exact manner in which this could be done, as the architect had to choose between loss of identity with his work and identification with it in a fashion that reflected on his good taste and pro- fessional modesty.
The present writer feels that this sug- gestion, retrieved from a practice of an- cient times, may prove of use in enabling the architect to come into possession of his own.
Leon V. Soron.
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