The Ways of Men [15]
case to do duty as the handle. Mrs. Van Rensselaer tells us in her delightful GOEDE VROUW OF MANA-HA-TA that waffle irons used to be a favorite wedding present among the Dutch settlers of this island, and were adorned with monograms and other devices, so perhaps it is atavism that makes us so fond of this form in building! As, however, no careful HAUSFRAU would have stood her iron on its edge, architects should hesitate before placing their buildings in that position, as the impression of instability is the same in each case.
After leaving the vicinity of the City Hall, the tall slabs that like magnified milestones mark the progress of Architecture up Broadway become a shade less objectionable, although one meets some strange freaks in so-called decoration by the way. Why, for instance, were those Titan columns grouped around the entrance to the American Surety Company's building? They do not support anything (the "business" of columns in architecture) except some rather feeble statuary, and do seriously block the entrance. Were they added with the idea of fitness? That can hardly be, for a portico is as inappropriate to such a building as it would be to a parlor car, and almost as inconvenient.
Farther up town our attention is arrested by another misplaced adornment. What purpose can that tomb with a railing round it serve on top of the New York Life Insurance building? It looks like a monument in Greenwood, surmounted by a rat-trap, but no one is interred there, and vermin can hardly be troublesome at that altitude.
How did this craze for decoration originate? The inhabitants of Florence and Athens did not consider it necessary. There must, I feel sure, be a reason for its use in this city; American land-lords rarely spend money without a purpose; perhaps they find that rococo detail draws business and inspires confidence!
I should like to ask the architects of New York one question: Have they not been taught that in their art, as in every other, pretences are vulgar, that things should be what they seem? Then why do they continue to hide steel and fire-brick cages under a veneer of granite six inches thick, causing them to pose as solid stone buildings? If there is a demand for tall, light structures, why not build them simply (as bridges are constructed), and not add a poultice of bogus columns and zinc cornices that serve no purpose and deceive no one?
Union Square possesses blocks out of which the Jackson and Decker buildings spring with a noble disregard of all rules and a delicious incongruity that reminds one of Falstaff's corps of ill-drilled soldiers. Madison Square, however, is FACILE PRINCEPS, with its annex to the Hoffman House, a building which would make the fortune of any dime museum that could fence it in and show it for a fee! Long contemplation of this structure from my study window has printed every comic detail on my brain. It starts off at the ground level to be an imitation of the Doge's Palace (a neat and appropriate idea in itself for a Broadway shop). At the second story, following the usual New York method, it reverts to a design suggestive of a county jail (the Palace and the Prison), with here and there a balcony hung out, emblematical, doubtless, of the inmates' wash and bedding. At the ninth floor the repentant architect adds two more stories in memory of the Doge's residence. Have you ever seen an accordion (concertina, I believe, is the correct name) hanging in a shop window? The Twenty-fifth Street Doge's Palace reminds me of that humble instrument. The wooden part, where the keys and round holes are, stands on the sidewalk. Then come an indefinite number of pleats, and finally the other wooden end well up among the clouds. So striking is this resemblance that at times one expects to hear the long-drawn moans peculiar to the concertina issuing from those portals. Alas! even the most original designs have their drawbacks! After the proprietor of the Venetian accordion had got his instrument
After leaving the vicinity of the City Hall, the tall slabs that like magnified milestones mark the progress of Architecture up Broadway become a shade less objectionable, although one meets some strange freaks in so-called decoration by the way. Why, for instance, were those Titan columns grouped around the entrance to the American Surety Company's building? They do not support anything (the "business" of columns in architecture) except some rather feeble statuary, and do seriously block the entrance. Were they added with the idea of fitness? That can hardly be, for a portico is as inappropriate to such a building as it would be to a parlor car, and almost as inconvenient.
Farther up town our attention is arrested by another misplaced adornment. What purpose can that tomb with a railing round it serve on top of the New York Life Insurance building? It looks like a monument in Greenwood, surmounted by a rat-trap, but no one is interred there, and vermin can hardly be troublesome at that altitude.
How did this craze for decoration originate? The inhabitants of Florence and Athens did not consider it necessary. There must, I feel sure, be a reason for its use in this city; American land-lords rarely spend money without a purpose; perhaps they find that rococo detail draws business and inspires confidence!
I should like to ask the architects of New York one question: Have they not been taught that in their art, as in every other, pretences are vulgar, that things should be what they seem? Then why do they continue to hide steel and fire-brick cages under a veneer of granite six inches thick, causing them to pose as solid stone buildings? If there is a demand for tall, light structures, why not build them simply (as bridges are constructed), and not add a poultice of bogus columns and zinc cornices that serve no purpose and deceive no one?
Union Square possesses blocks out of which the Jackson and Decker buildings spring with a noble disregard of all rules and a delicious incongruity that reminds one of Falstaff's corps of ill-drilled soldiers. Madison Square, however, is FACILE PRINCEPS, with its annex to the Hoffman House, a building which would make the fortune of any dime museum that could fence it in and show it for a fee! Long contemplation of this structure from my study window has printed every comic detail on my brain. It starts off at the ground level to be an imitation of the Doge's Palace (a neat and appropriate idea in itself for a Broadway shop). At the second story, following the usual New York method, it reverts to a design suggestive of a county jail (the Palace and the Prison), with here and there a balcony hung out, emblematical, doubtless, of the inmates' wash and bedding. At the ninth floor the repentant architect adds two more stories in memory of the Doge's residence. Have you ever seen an accordion (concertina, I believe, is the correct name) hanging in a shop window? The Twenty-fifth Street Doge's Palace reminds me of that humble instrument. The wooden part, where the keys and round holes are, stands on the sidewalk. Then come an indefinite number of pleats, and finally the other wooden end well up among the clouds. So striking is this resemblance that at times one expects to hear the long-drawn moans peculiar to the concertina issuing from those portals. Alas! even the most original designs have their drawbacks! After the proprietor of the Venetian accordion had got his instrument