solutions of a problem--and a few monuments of American architecture have just appeared which can compare, in the matter of successful color, with anything that has been done in the past.

A brief sketch, therefore, of the development of American architecture, with especial reference to that side of it which affects modern

To limit modern architecture to that which seems to embody what are called modernistic tendencies would be not only foolish, but arrogant. The architecture which to-day is regarded as unprogressive, a generation from now may be in the van, and no man, be he layman, critic, or designer, can pass an infallible judgment, or even make a good guess, as to what is to be the architecture of the future. Modern American architecture is the American architecture of today.

The mechanical fallacy, or, if we approve it, the mechanical theory, has loomed large in the criticism of modern American architecture. The analogies, most of them superficial, between Gothic architecture and steel construction made it inevitable. Almost as soon as the first timid attempts in the "Chicago construction" appeared, critics at home and abroad began insisting upon the desirability of the design revealing in the skyscraper the system of construction which made it possible.

The history of American architecture is dotted with disasters in polychromatic design. Happily, this difficulty is being recognized and met. The great monuments of color in the past, like Raphael's loggia or Pintoricchio's decorations for the Borgia Apartments, are being studied as such monuments should be studied--not for imitation, but as successful solutions of a problem--and a few monuments of American architecture have just appeared which can compare, in the matter of successful color, with anything that has been done in the past.

A brief sketch, therefore, of the development of American architecture, with especial reference to that side of it which affects modern d

ke a good guess, as to what is to be the architecture of the future. Modern American architecture is the American architecture of today.

The mechanical fallacy, or, if we approve it, the mechanical theory, has loomed large in the criticism of modern American architecture. The analogies, most of them superficial, between Gothic architecture and steel construction made it inevitable. Almost as soon as the first timid attempts in the "Chicago construction" appeared, critics at home and abroad began insisting upon the desirability of the design revealing in the skyscraper the system of construction which made it possible.

The history of American architecture is dotted with disasters in polychromatic design. Happily, this difficulty is being recognized and met. The great monuments of color in the past, like Raphael's loggia or Pintoricchio's decorations for the Borgia Apartments, are being studied as such monuments should be studied--not for imitation, but as successful solutions of a problem--and a few monuments of American architecture have just appeared which can compare, in the matter of successful color, with anything that has been done in the past.

A brief sketch, therefore, of the development of American architecture, with especial reference to that side of it which affects modern

hic architecture and steel construction made it inevitable. Almost as soon as the first timid attempts in the "Chicago construction" appeared, critics at home and abroad began insisting upon the desirability of the design revealing in the skyscraper the system of construction which made it possible.

The history of American architecture is dotted with disasters in polychromatic design. Happily, this difficulty is being recognized and met. The great monuments of color in the past, like Raphael's loggia or Pintoricchio's decorations for the Borgia Apartments, are being studied as such monuments should be studied--not for imitation, but as successful solutions of a problem--and a few monuments of American architecture have just appeared which can compare, in the matter of successful color, with anything that has been done in the past.

A brief sketch, therefore, of the development of American architecture, with especial reference to that side of it which affects modern

architecture is dotted with disasters in polychromatic design. Happily, this difficulty is being recognized and met. The great monuments of color in the past, like Raphael's loggia or Pintoricchio's decorations for the Borgia Apartments, are being studied as such monuments should be studied--not for imitation, but as successful solutions of a problem--and a few monuments of American architecture have just appeared which can compare, in the matter of successful color, with anything that has been done in the past.

A brief sketch, therefore, of the development of American architecture, with especial reference to that side of it which affects modern

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