Court of Abundance, the Court of Flowers, the Avenue of Palms, the Avenue of Progress, and the Court of Mines. To understand the point of view properly, then, it is essential to conceive of courts and avenues only, and not of buildings, for the latter changed front chameleonlike in accordance with the surrounding open areas; thus each building in the main block, at least, was subject to four or five influences in design. While no general scheme of design in a definite sense controlled the whole exposition, the courts themselves were marvels of imagination and manipulation of ornamental forms; great ability likewise appeared in the mural paintings and sculptural units. The styles illustrated varied from a Spanish Renaissance-Gothic combination to Italian and French Renaissance, and from suggested Roman Classic to entirely novel conceptions, such as that of the remarkable Tower of Jewels, facing the southern gardens. In color scheme this exposition far outstripped its predecessors; a fine travertine texture and color prevailed, softening all high lights and eliminating glare. The night illumination was a wonder of ingenuity and colored light, both direct and indirect, reflected and diffused; most actual light sources were concealed, electric scintillators coming largely into requisition. Panama-California Exposition. The splendid monumental quality of the San Francisco groups was not present at San Diego; it was, indeed, studiously avoided. Instead, there was at once apparent a picturesqueness and irregularity that found an immediate appeal. The treatment throughout indicated a more homelike quality concomitant with its more individual purpose of exploiting a single State; it had not an international purpose. The color scheme was a simple white without glare; the architectural style was uniformly Spanish-Colonial, involving the use of finely wrought detail relieved against plain wall areas. The plan maintained a principal east and west axis, and to a certain extent two minor axes. The former of these was El Prado, a broad roadway continuing the line of the Puente Cabrillo, an exceptionally attractive engineering feature bridging the deep canyon of a small brook, with a highroad and lake, all named after Cabrillo, the founder of the city of San Diego. The arrangement of buildings and squares was dependent upon the axes, but at the same time suggested a random feeling which was one of the exposition's greatest charms. Thus the great Plaza de Panama ran north and south, was of longish oblong plan, and made a right angle with the Prado, instead of forming in symmetrical fashion a regular widening of the main avenue; in the same manner the Plaza in turn narrowed into an Esplanade terminated by a hemicycle motive centring about a giant open-air organ. In both expositions the amusement concessions, as well as the areas devoted to cattle exhibits and athletic contests, were not accorded with the main scheme of design; but on the other hand, all concessions, as well as the spaces assigned to State Buildings at San Francisco or to County Buildings at San Diego, were carefully treated with reference to their own planning needs. At San Diego, especially, the natural features were of great advantage, the climate of Southern California being in fact a bona fide assistant in the work of construction. Judging the whole conception properly as a State exposition, the San Diego groups

must be considered an unqualified success. See also AGRICULTURAL EDUCATION; and BUILDING OPERATIONS.

CHURCHES. Ecclesiastic architecture during 1914 is not of certain trend; the decided domination of the Gothic of Cram and Ferguson, as well as that of B. G. Goodhue, is not much in evidence, although the mediæval styles are still in great favor. The Colonial manner is represented by one or two examples and the Italian Renaissance is well exemplified in two others. In general, however, the church building of the year is of modest proportions both in the number and quality of buildings. Several good plan solutions are noteworthy, as, for instance, those of Trinity Lutheran Church at Akron, Ohio, by J. W. C. Corbusier, and Christ Church, Los Altos, Cal., by Coxhead & Coxhead. Brick is finding always greater favor for the smaller church buildings, due in part to the more frequent use of the north Italian styles, both in Romanesque and in Renaissance. Good brick examples are Carrollton M. E. Church, New Orleans, La., by Sam Stone, Jr.; First Church of Christ Scientist, Los Angeles, Cal., by Elmer Grey; the Ravenswood Presbyterian Church at Chicago, by Pond & Pond; and the church and rectory of St. George, New York, by Robert J. Reiley. Among the best designed examples may be mentioned the quiet and attractive Chapel of Divine Love, Philadelphia, by Paul Monaghan; the Italian Romanesque St. Patrick's Church in the same city, by Lafarge & Morris; the House of Hope Presbyterian Church, St. Paul, Minn., by Cram & Ferguson; the Italian Renaissance Church of St. Vincent Ferrer, New York, by Bertram G. Goodhue; and the chapel of the Dominican Sisters of St. Agnes, Sparkill, N. Y., by Davis, McGrath & Kiessling. Other examples are: St. Mark's, Dorchester, Mass., by Brigham, Coveney & Bisbee; St. Henry's, Bayonne, N. J., by T. H. Poole & Company; First Congregational Church, San Francisco, by Reid Brothers; Emanuel Church of the Evangelical Association, in the same city, by Falch & Knoll; St. James's Presbyterian Church, New York, by Ludlow & Peabody; First Presbyterian Church at San Diego, Cal., by Robert H. Orr; First Presbyterian Church at Spokane, Wash., by L. B. Valk; First Church of Christ Scientist, Worcester, Mass., by O. C. S. Ziroli; St. Luke's, Evanston, Ill., by Lowe & Bollenbacher; First Church of Christ Scientist, Seattle, Wash., by Charles H. Bebb & L. L. Mendel; All Saints Episcopal Church, Newbury, Mass., by Clark & Russell; Plymouth Congregational, at Chicago, by Riddle & Riddle; St. Rita's, Philadelphia, by George I. Lovatt; St. Elizabeth's, Philadelphia, by Baily & Bassett; the temple of B'Nai Jeshurun, at Newark, by Albert S. Gootlieb, is the only noteworthy synagogue erected during the year.

SCHOOLS. While the output of school buildings is not characterized by a memorable increase numerically, it is notable for the high quality of planning skill everywhere in evidence. At Coronado, Cal., Quayle Brothers & Cressey produced a particularly good result. The same may be said of Francis W. Parker School at San Diego, by Templeton Johnson. This is named after the well-known philanthropist whose benefactions in Chicago and generally in Cook County, Ill., have largely taken the form of school improvements. The school in question is

of the southwestern patio plan, one story high, all rooms facing and actually open toward the courtyard; the result is practically that of an open air group of class rooms. Another notable example in this field is that accomplished by E. F. Guilbert in the McKinley School at Newark, N. J. This is designed in stucco with decorative motives in tapestry brick and colored tile, following in general the manner of the Italian Renaissance. The building constitutes more of a cheerful neighborhood centre, than simply a school of text-book instruction. Several of the rooms are of the open air type and a large play court is provided at street level. The solution of the problem involved, in view of the irregularity of the site, is without question very creditable. Brick is still largely favored in the East and Middle West, while stucco naturally predominates in the Far West. Good brick examples of notable design are: the Trenton School of Industrial Arts, by Cass Gilbert, in which tapestry brick and tile appear; the Regis High School, New York, by Maginnis & Walsh, a monumental Italian Renaissance building; the brick and half-timber Donners Grove Kindergarten at Donners Grove, Ill., by Perkins, Fellows & Hamilton, undoubtedly one of the best designed examples in several years; the collegiate Gothic St. Ignatius's Loyola Day Nursery, New York, by W. Weissenberger, Jr.; the South Side High School, Newark, N. J., by E. F. Guilbert; the Fresno Normal School, Fresno, Cal., by the Architectural Division of the California State Department of Engineering; the grouped scheme of three buildings in the Edward Devotion School, Brookline, Mass., by Kilham & Hopkins; the Crookston High School, Crookston, Minn., by Bert D. Keck; the Dickerman School, Boston, Mass., by J. R. Schweinfurth; the dining hall of the Hill School, Pottstown, Pa., by Hewitt & Bottomley. Other examples are: the Walker School, Concord, N. H., by H. Templeton Blanchard; the Addison School, Cleveland, Ohio, by F. S. Barnum & W. R. McCormack; a parochial school at Holyoke, Mass., by John William Donohue; the South Park High School, Buffalo, N. Y., by Green & Wicks; the Norwood High School, Norwood, Ohio, by Bansmith & Drainée; a public school building at Riverton, N. J., by Heacock & Hokanson; the High School of Commerce, Springfield, Mass., by Kirkham & Parlett; and the Hebrew Institute, Chicago, by Ottenheimer, Stern & Reichert, a structure entirely of concrete, the design suggesting certain German work, and achieving a decidedly interesting result.

UNIVERSITIES. The year does not offer any remarkable examples of planning, such as the various general group schemes adopted during 1914 among the important universities of the country. Times of financial stress are apt, among their first effects, to reduce benefactions to institutions, and when the slow work of restoration of equilibrium gathers strength it shows its effects in turn upon the dwellings and business buildings and only secondarily in institutional structures. A few notable single buildings are to be put down to the credit of 1915, however, such as the Evans Museum and Dental Institute at the University of Pennsylvania, Philadelphia, by John T. Windrim; Prudence Risley Hall, in the collegiate Gothic manner, by Miller & Mallory, at Cornell University, Ithaca; the excellent Gothic work of Allen &

Collens in Taylor Hall, at Vassar College, Poughkeepsie, N. Y.; Gilman Hall and other buildings on the new site of Johns Hopkins University, by Parker, Thomas & Rice, and by Joseph Evans & Sperry; Green Hall Auditorium, at Smith College, Northampton, Mass., by Charles A. Rich; an art building for Oberlin College, by Cass Gilbert; a men's gymnasium for Dartmouth College, Hanover, N. H., by Charles A. Rich, and a similar building at Leland Stanford Junior University, Palo Alto, Cal., by Bakewell & Brown; an Infirmary for Haverford College, at Haverford, Pa., by Baily & Bassett; and a large concrete stadium for the College of the City of New York, by A. W. Brunner. With these should also be included the Nelson Morris Memorial Institute for Medical Research, Chicago, by Richard E. Schmidt, Garden & Martin.

HOSPITALS. In the field of hospital construction it is interesting to note that the last five years witnessed the greatest contribution in the way of bequests and direct donations that has ever accrued to any single type of building. The six most important examples, of which four are also teaching hospitals, are the following: that at the University of California, Berkeley, Cal., $615,000; the Isaac L. Rice Hospital, New York (not yet begun), $1,000,000; the New Haven Hospital, used by the Yale Medical School, New Haven, Conn., $1,500,000; the Burke Convalescent Hospital, White Plains, N. Y., $5,000,000; the Peter Bent Brigham Hospital, connected with Harvard University, Boston, Mass., $7,000,000; and the large project to be undertaken by the Presbyterian Hospital of New York and Columbia University upon a new site in upper Manhattan, $8,500,000. In this connection the following well planned buildings and groups should also be noted: the Cincinnati General Hospital, by Samuel Hannaford & Sons; the Jewish Maternity Hospital, Philadelphia, by Hewitt, Granger & Paish; the Abington Memorial Hospital, Abington, Pa., by Bissell, Sinkler & Tilden; the Central Dispensary and Emergency Hospital, Washington, D. C., by Nathan C. Wyeth; the Highland Private Hospital, Fall River, Mass., by Parker M. Hooper.

PUBLIC BUILDINGS. Among the Federal structures erected during the year, the most important were the Post Office and Court House at Denver, Colo., by Tracy, Swartwout & Litchfield; the United States Treasury Building, San Francisco, by J. Milton Dyer; the Post Office, Washington, by Graham, Burnham & Company; the Post Office, New Orleans, La., by James Gamble Rogers; the fine arcaded Florentine design of the Post Office at Berkeley, Cal., by William Arthur Newman & Oscar Wenderoth; and the additions to the Custom House at Boston, by Peabody & Stearns. In the last named the old building was made a base for a tall office tower, erected over an earlier dome. The fine Senate and House of Representatives Office Buildings were also occupied during the year, and the Department of Agriculture completed the Bieber Building from designs by MacNeil & MacNeil. All of these edifices are in the Capital city. Among the other public buildings, municipal and others, erected during the year are to be mentioned: the Hamilton County Court House, Cincinnati, Ohio., a $2,500,000 structure by Parker, Kellogg & Crane; the armory of the Eighth Coast Artillery, New York, by

Pilcher & Tachau; a fine Municipal Building for Waterbury, Conn., by Cass Gilbert; a City Hall for Burlingame, Cal., by Chas. P. Weeks; the Town Hall of Bourne, Mass., by James Purdon; the remodeling_of_the_Delaware County Court House, Media, Pa., by Brozer & Robb; an annex to the Boston City Hall, by E. T. P. Graham. Two well conceived bath houses should be included in this list: the Fordyce Bath House, Hot Springs, Ark., by George R. Mann & Eugene J. Stern, and the South Side Bath House, Pittsburgh, Pa., by MacClure & Spahr. One of the very good buildings of the year is undoubtedly the great Auditorium which forms the permanent building left as a monumental record of the Panama-Pacific International Exposition. This edifice will seat 12,000 persons, and was erected at a cost of $1,000,000. It is located in San Francisco's new Civic Centre, some distance from the Exposition Grounds.

LIBRARIES. The year's best library buildings were that erected in Denver, Colo., by Ackerman & Rose and the Widener Memorial Library, by Horace Trumbauer, at Harvard University, Cambridge, Mass. The latter is one of the notable buildings of 1915 and has at once taken its place among the foremost library buildings of the country. At Bar Harbor, Me., the Morris K. Jesup Memorial Library was built from designs by Delano & Aldrich; Beverly, Mass., built a public library building from designs by Cass Gilbert; while D. Knickerbacker Boyd designed the Southwark Branch of the Philadelphia Public Library. Other examples of note are the Harrisburg, Pa., Public Library, by E. S. Child, and the Warren Library, Chicago, by Wm. E. & Arthur A. Fisher.

BANKS. The policy of locating banking firms in large office buildings continues in favor; in this field 1915 exceeds 1914 by about 30 per cent in the number of buildings erected. Cases in point are the Boatmen's Bank at St. Louis, Mo., by Eames & Young; the Citizen's National Bank, Los Angeles, Cal., by John Parkinson & Edwin Bergstrom; the First National Bank of Pueblo, Col., by R. E. Schmidt, Garden & Martin; the Murchison National Bank, Wilmington, N. C., by K. M. Murchison; the Holston National Bank, Knoxville, Tenn., by John Kevan Peebles; the Hartford National Bank, Hartford, Conn., by Donn Barber; the Brooklyn Trust Company, New York, by York & Sawyer. Smaller banking buildings of the year were the Corn Exchange Bank's Bronx and Eighty-sixth Street Branches, New York, by H. T. Lindeberg; the Stockton, Cal., Savings Bank, by Charles W. Dickey; the Far Rockaway National Bank, New York, by Jos. L. Steinam; the Amsterdam Savings Bank, Amsterdam, N. Y., by M. T. Reynolds; the First National Bank, Champaign, Ill., by Mundie & Jensen; the First National Bank, Allegheny, Pa., by F. J. Osterling.

HOTELS. The great era of hotel building of the year 1914 has been succeeded by a decided falling off in the number of new hotels, although no reduction is noticeable in the sumptuousness of the larger examples contributed by 1915. The finest of the year was the William Penn Hotel, Pittsburgh, Pa., by Janssen & Abbott, a 20-story structure containing 900 rooms; the enormous Hotel Traymore at Atlantic City, N. J., by Price & McLanahan; the well-designed Hotel Muhlbach, Kansas City, Mo., by Holabird & Rocke; the Hotel Morrison, Chicago, by Mar

shall & Fox, with 1600 bedrooms; the attractive Hotel Pantlind, Grand Rapids, Mich., by Warren & Wetmore; the brick and terra cotta Adelphia Hotel, Philadelphia, by Horace Trumbauer. Other less important examples were: the Hotel Allerton, New York, by Paul C. Hunter; the Capitol Park Hotel, Washington, D. C., by A. B. Mullett & Co., the Gothic Hotel Fontenelle at Omaha, Neb., by Thomas R. Kimball; the Hotel Black Hawk at Davenport, Ia., by Temple & Burrows, and the Hotel Brunswick at Lancaster, Pa., by C. Emlen Unbau, involving the use of a hot-water heating system in an eight-story building.

STORES. No important work was accomplished in this field during the year just closed. The largest buildings of the type to be erected were probably the May Store, Cleveland, by Graham, Burnham & Company, and the Ames Store in the same city, by Starrett & VanVleck. The severe Arnold Constable Store, New York, by T. J. Bartley, should also be mentioned. What may be the beginning of a new departure in New York City architecture is seen in the Standard Arcade, by Severance & Van Alen. Two very good public markets may be properly classed here, the Astor Public Market, New York, by Tracy & Swartwout, and the Worcester, Mass., Public Market, by O. C. S. Ziroli, both of well studied design.

OFFICE BUILDINGS. The largest office building of 1915 was the Equitable Building, New York, by E. R. Graham. This is the largest structure of its kind in existence, covering 48,000 square feet of ground, measuring 545 feet in height, rising to 45 stories above the street, and requiring foundations 85 feet in depth. Other large examples are: the Merritt Building, Los Angeles, Cal., by Reid Brothers; the terra cotta Goelet Building, New York, by Warren & Wetmore; the Hasco Building, New York, by Walter Haefeli; the Victoria Building, New York, by Schwartz & Gross; the Federal Realty Building, Oakland, Cal., a devious Gilbert inspiration, by B. G. McDougall; the Gothic building of the Delaware and Hudson Company, Albany, N. Y., by Marcus T. Reynolds; the Hurt Building, Atlanta, Ga., by J. E. R. Carpenter; the Balboa Building, San Francisco, Cal., by Bliss & Faville. The Russell Sage Building, New York, by Grosvenor Atterbury is the most attractive single example from the standpoint of design. The only newspaper buildings erected during the year were the Farm Journal Building, Philadelphia, by Bunting & Slougley; the News Press Building, St. Joseph, Mo., by Eckel & Aldrich; and the Circle Building, New York, by J. C. Greene. The last named is to be the home of the Hearst papers in New York. Only two stories have been completed to date; a huge tower will ultimately surmount the long low main body of the building. Other good examples of office buildings, without the skyscraper element, are: the Parkway Exchange of the Bell Telephone Company, Philadelphia, by John T. Windrim; the Widener Building, Philadelphia, by Horace Trumbauer; the HallenbeckHungerford Building, New York, by William E. Austin.

FACTORIES, WAREHOUSES. Owing usually to their lack of architectural merit, factories and warehouses are rarely heralded in the architectural press; the same holds true to a great extent of the loft building type of factory, which resembles the office building in construction and