Puslapio vaizdai
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of the thousand and one societies have State and national organizations. Here is an enormous supply of official positions. Every trade, every profession, every benevolence, every sport, every church furnishes distinctions commensurate in territorial magnitude with our great country.

And still the full measure of American officialism is not attained. There must be international organization. The earth must be girdled; and so, every society aims to plant a few lodges, or posts, or bands, or auxiliaries, or unions, or chapters (as they may be styled), beyond the seas. It little matters how few or scattered or insignificant these foreign plants may be. It is enough that "international organization has been accomplished"-and with it a new set of officials having world-wide jurisdiction.

The grandeur of all these distinctions suffers no diminution in their names. The chief officer is Ruler, Chancellor, Commander, Seigneur, President, Potentate, with many superlative and worshipful prefixes. And in the rituals of the numerous orders the Almighty is habitually referred to as the Supreme Commander, Ruler, Potentate, or otherwise, as the case may be. By this means the American imagination accomplishes an interuniversal as well as an international organization.

A few years ago, in a little country village,

there was instituted a chapter of a certain benevolent insurance order. The Chancellor was subsequently elected Grand Chancellor of the State. Afterward at a national convention he was made Supreme Grand Chancellor of the United States. The next year he was elected Most Supreme Grand Chancellor of the World; and it became his duty, the order paying his expenses, to make an international visitation to the three chapters in Australia, New Zealand, and England that composed the aforesaid "world."

When that triumphal tour was completed, his return home was heralded, and the chapter of his village arranged for a reception of the honorable dignitary. Never shall I forget the feeling of solemn awe that settled down upon the little community as the evening approached when the Most Supreme Grand Chancellor of the World was to arrive. This favored American was a "bigger man than old Grant."

Not only are there offices enough to "go round," but the really capable and pushing American is generally honored with a score. I have heard a busy and overworked man decline to be at the head of an organization because he was at the head of twenty-five already.

Here then we have the great American safety-valve- we are a nation of presidents.

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IFE, the shrewd lapidary, is rich in wares
Whose worth or charm a casual glance may see;
And like perpetual purchasers are we,

Won by the bounteous opulence he airs.
Here shines a pearl of hope; here subtly glares
An emerald of revenge; here thrilled we see
A diamond of ambition; here may be
Some ruby of sin that lures us and ensnares.

Continually above this bright array,

As time flows on, we mortals flock to bend, Till body and limbs turn frail, till brows grow gray, Through trading, haggling, bartering without endWhile for the inexorable price we pay,

Months, years, even centuries, are the coins we spend.

Edgar Fawcett.

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to the most careless observers a certain indefinite impression of order, beauty, or grandeur, fails to convey to them the most essential part of the ideas which he has in mind to set forth. He needs this popular appreciation, not only as an encouragement, but as a corrective, and that he may bring himself into fuller and more perfect sympathy with the civilization which it is his duty to express.

T has already been stated that the main object of these papers is to secure for the great buildings of the Exposition, through an analysis of the evolution of their several designs, an intelligent if not a respectful appreciation, because of the extreme importance of the occasion in the history of American art, and also because of the exceptional In attempting, in the previous paper, to follow circumstances under in outline the principles which controlled the which the buildings designs of the Administration and Machinery have been produced. Without such apprecia- buildings, it became evident that, before protion, the work of the architect, although it may ceeding with the other buildings, it would be be eloquent and imposing enough to give even well to state, once for all, that in monumental VOL. XLIV.-51.

DRAWN BY ALBERT RANDOLPH ROSS.
PHILIP MARTINY, SCULPTOR.

Group representing the four continents supporting Horoscope and crowning the corner pavilions of Agricultural Building.

Architecture and music alike have, in their highest developments, clearly defined qualities, which convey a delight of meaning to the capable eye or ear, but which, to the untrained mind, are nothing but inarticulate harmonies. of form or sound.

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designs based upon pure classic formulas, the principle of symmetry- that is, of a balanced correspondence of parts on each side of a center line-must govern the disposition of the masses into which, in order to form an articulate composition, each façade should be divided. The greater the dignity and importance of the building, the more absolute and uncompromising must be the application of this principle. The

which ceremony and state become secondary to considerations of comfort and convenience.

With the exception of the Administration Building, which is a compact, domical composition, like the front of the Invalides, all the larger structures of the Exposition have a great extension of length in comparison to their average height, the former varying from 700 to 1700 feet, and the latter from 40 to 60. The application of the principle

of symmetry to these has resulted uniformly in a central pavilion of some sort, and in a corner pavilion of varying importance on each. angle of the façades. This remark does not apply to the Transportation and Fisheries. buildings, which are not classic in form or intention. Between these pavilions there are intermediate spaces known as curtain-walls, the architectural character of which depends on a continuous repetition of bays, developed from the interior structure, and constituting the characteristic mass of the frontage, to which the three pavilions serve as points of emphasis and relief. But it will be found that this arrangement of the several buildings is not only the result of the common observance of an abstract principle of design, but follows from an obvious necessity of the plan in each case, from the mutual relations of neighboring structures, and from considerations of the most convenient ingress and egress.

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Kenyon Cox 1892. After photographe from mefinished plaster.

DETAIL OF FOUNTAIN BY FREDERICK MACMONNIES.

monument must be evident as the orderly result of forethought, and not as a growth from a succession of unexpected contingencies. It must embody the idea of a harmonious development of structure from beginning to end, so exactly adjusted, and so carefully proportioned in respect to its elements, that nothing can be. added to or taken from it without sensibly affecting the composite organism as a whole. The test of the completeness of a classic design resides in its sensitiveness to change-a sensitiveness which becomes more delicate as the design approaches perfection. In fact, symmetry is the visible expression of unity. The moment the correspondence of balanced parts on each side of a center line is disturbed by the introduction on one side of a mass or detail which does not appear on the other, at that moment the design begins to lose somewhat of its unity and to enter the domain of the picturesque, in

It will be remembered that the architects of the five buildings surrounding the great court, which have the closest architectural relations, agreed, for the sake of securing a harmonious result, to confine themselves to pure classic forms in their designs, to fix upon 60 feet from the ground as the height of their main cornices, to provide for an open portico or shelter along their whole frontage, and to assume about 25 feet as their module or unit of dimension. We have seen also that one of the results of the fundamental conditions of the plan is the division of the façades respectively by a central pavilion and by corner pavilions, with stretches of cur

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MCKIM, MEAD & WHITE, ARCHITECTS.

AGRICULTURAL BUILDING, NORTH FRONT, SEEN FROM THE GRAND BASIN.

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