A TYPICAL AMERICAN DWELLING, OF THE STYLE Above and behind our most intimate architecture, as well as our more imposing buildings, looms the great background of architectural precedent and historic origin, full of an interest which should make itself felt to every intelligently observant person A SOUTHERN MANSION DESIGNED IN THE "CLASSIC TASTE" BY ITS OWNER, The architectural ability of Jefferson reflects the time in which a scholarly appreciation of architecture, even as an amateur, ("Monticello," Virginia, the home of Thomas Jefferson) well as racially, America has been the melting-pot. There has been no one style, because in this country we are not one people, but many-and there has been no typical American architecture, as a noted architect recently pointed out, because we have no typical climate in America, no typical landscape or no typical civilisation. This, however, is a question of "style," to pursue which further at this point would be to depart from broad generalities. At the outset it seems a part of this work to point out forcibly the importance of some degree of general understanding and appreciation of the broad principles of architecture. Many of us seldom come in contact with paintings, or sculpture, or other fine arts. We are not obliged to listen to music or to follow the drama. If we go out-doors, however, we cannot fail to see buildings everywhere-buildings good, bad and indifferent. Some are important, all are interesting in some particular. The unfortunate thing is that so many people see only buildings, and have never trained themselves to see architecture. The aspect of buildings, quite apart from any individual interests of the prospective builder, is so inseparably a part of our daily lives that it would seem highly desirable to develop at least a high-school course on the appreciation of architecture. Architecture is not a "special" subject—it is a universal subject confronting us at every turn. There was a time when a knowledge of architecture, together with the "Classics," formed an important part of the education of a gentleman. The stately and classical dignity of many of the fine old manor houses of the South was due more to the architectural education of their owners than to the taste of the master-builders. Thomas Jefferson made the actual drawings for "Monticello," as well as for the buildings of the University of Virginia. He was not an architect, but architecture had been part of his education. To-day there are few men who, between business and social activities, would have time to draw the plans for their houses, even if they had the ability. The architect is better equipped for this work; but an architectural education, no matter how slight, would assure intelligent and effective understanding of the architect's work. To most people the architect's work is far more mysterious and incomprehensible than that of the lawyer or the doctor, while it should by all rights be readily and intelligently understood. It is assumed that anyone about to build becomes, perforce, interested in architecture, but by reason of a late interest, and no personal basis of architectural conviction, he is obliged either to make a hasty and halfconsidered survey of the subject, or to accept the varied and usually conflicting architectural advices of his friends, many of whom are no better equipped in this direction than he. His very ignorance makes him suspicious that the architect may design for him a building which he will not like, whereas, had he any appreciation or understanding of architecture, he would be under no apprehensions. In addition to the prospective builder, there is the much larger class comprised of those who probably never will build for themselves, or be called upon to exercise any architectural knowledge in so direct a manner. To these, however, no less than to the prospective builder, architecture should be an open book. Their walks abroad would become of abundant and varied interest, and every building would hold a story which they had never before been able to read. |