1868.] Statuary on Buildings. 273 STATUARY ON BUILDINGS. "ATTOTHING gives such life and effect -L^l to an architectural elevation as well-designed and judiciously located statuary. It is only now that this most desirable addition appears to be obtaining amongst our professional brethren ; and that but cautiously, as though it were an innovation on the dullness of hitherto accepted man- nerism. Mr. Thomas, of New York city, has, in his Park Bank design, pioneered the way for other architects to follow ; and, whatever critics may say, as to the num- ber and size of the figures, in proportion to the size of the building itself, or its detail, we cannot but feel grateful to Mr. Thomas, for the lead he has taken in so very desirable a field, as that of the application of statuary to exterior architecture ; and we hope to see that lead judiciously followed in our new public buildings, all of which are sus- ceptible of such decorations ; some more, some less. Theatres, museums, and, in fact, all places of public entertainment are legitimate locations for suggestive statuary, almost to profuseness. But, on the other hand, there are public buildings which will not admit of more than one figure. Such, for instance, are court-houses, post-offices, &c, where Justice, Mercury, or some appropriate deity may preside alone. This introduction of statuary cannot fail of benefiting that splendid sister art, which it should be the desire of every architect, possessed of the genu- ine spirit, to foster and encourage. The genius of our countrymen in this has been but little favored hitherto. Yet the small band of devoted artists have made themselves individually eminent, by their too few works ; and the names of Powers, Crawford, Hosmer, Wol- cott, and others, do honor to sculpture, and evidence the necessity for a liberal patronage of that art. There is something very pleasing in the appearance of a well-proportioned statue crowning the pediment of a stately building ; and if, where windows are uncalled for, in a front, yet niches are desirable, to fill up a composition, what so appropriate as to supply those niches with graceful statuary 1 At present, the works of our artists are confined chiefly to parks and pleasure grounds ; but a nobler sphere should be theirs ; and that is the one to which we just alluded: for Sculpture is the favor- ite daughter of Architecture ; and, as such, is entitled to pre-eminent distinc- tion in her train. FORMATION OF ALPHABETS: — THE ROMAN AND THE GOTHIC. THE Roman, or White Letter, differs from the Old English, or Black Letter, and German Text, — both the latter generically Gothic — in the broad-nibbed pen, with which all were originally formed, being brought down at a right angle with the line of read- ing, for the heavy strokes or " shades" of the letters. The pen-nib — in profile running down to a sharp corner underneath — being always steadily kept at the same invariable angle — no matter what its movements, or curves, to form the letters — gave the "lights," or hair- strokes, and all the transition sweeps of the particular letter, without furth -r care. In Gothic letters, the same broad-nibbed pen afforded all, except the mere fancy flourishes, by being simply kept always at an angle of 45 degrees with the reading-line. If the reader will take two fine iead pencils — say Faber No. 3, or some corresponding grade of other make — of the same length when sharpened, tie them securely together, at both ends and in the middle, so that they are parallel and cannot waver; and then employ either of the above methods of holding, according to the style needed, he will proba- bly be surprised to find himself forming, with a single sweep, capitals nearly as well shaped as those of the printer or the sign-painter. He will learn, also, the origin of certain apparently unaccountable outsets or ex- crescences, in Latin letters of the olden time. C. J. L.
