1868.] Descriptions. 209 depositor, whose satisfaction, in such matters, is worth all that the uncon- cerned can feel. Again we urge the deliberate con- sideration of this subject on the archi- tect, who proposes to himself the com- position of such a design. Let him leave wreaths of flowers and urns — together with masks, lions, and pounc- ing eagles — out of sight and out of mind ; and keep simple elegance, as the most prominent feature ; thus producing admiration, without meretricious effort at display. Such admiration is lasting ; and worthy of the quiet effort to attain it. Banking Institutions, in general, are not to be treated in the same manner, as are Savings Banks ; because they bespeak, in their architecture, the pro- fusion of wealth, which is the founda- tion of their existence ; they being, in fact, the representative temples of the mone3-ocracy of the community — and, consequent^, bearing, on their front, the insignia of their rank. Florid dis- play, statuary, and all the other acces- sories of enriched design, are in keeping here, provided their presence is con- trolled by harmony, modesty, and good taste. In such edifices, the Corinthian or Ionic Orders will be admissible ; but not the Composite, that Order being quite too meretricious, for even the affluence of Trade to tolerate. In the countries of the Old World, the public banking institutions belonging to the Government, their edifices present all the display of architectural design, which we are accustomed to see in all government buildings — great extent, and most imposing appearance. Our own United States Treasury Building, at Washington, D. C, is an example of what a National Bank, in the hands of the General Government, might be. But, as things are, banking institu- tions being in the hands of limited com- panies of citizens, and being, moreover, rather numerous, it is not to be expected that architecture can take the princely range it does in foreign lands. One of the reasons here is, that there is an imperious necessity for limit of front, to that which is usually occupied by large stores. That highly elaborated building, the Park Bank, is not seventy feet front ; and is front, and nothing more. On such a contracted area of display as this, it is evident, that the architect must feel his great difficulty to be the avoidance both of redundance and of poverty of ornament. The un- aided presence of proportion, however unexceptionable in itself, cannot com- mand the attention, so desirable to the true artist. On the contrary, propor- tion requires the acquisition of orna- ment, to set it off and draw attention to it. The manner of using such orna- ment, and the selection of it, alike call for the discrimination and taste of the architect. And, in this lies the main effort, which will test his ability to please the public eye. Failure in orna- mentation, however just the proportion, is as fatal to a design, as want of pro- portion, however admirable the orna- mentation. Let us be clearly understood, then, by our architectural brethren, as de- sirous of simply sustaining the doctrine of modest neatness, and well-defined economy, for the Savings Bank Build- ings ; whilst, for the more aspiring In- stitutions, above alluded to, we advocate the introduction of enrichment, to any extent, not liable to the imputation of gaudiness ; proportion, well preserved ; and embellishment, in good taste, capa- ble of aiding the production of true effect. A due attention to the necessities, involved in these matters, will render the study of a composition more perfect ; and, certainly, less liable to that criti- cism, which is so unpleasing to the sen- sitive architect. And we firmly believe, that it is the rule, rather than the excep- tion of a true calling for our profession, to possess that tender characteristic, we so delicately denominate as sensitive- ness, and which is ever far easier to wound, than to heal.
