Part 5

=Renaissance.= ART CLUB, southwest corner of Broad and Chancellor Streets, Italian and French influences; brick and Indiana limestone; architect, Frank Miles Day. CITY HALL, open daily, 9.00 A.M. to 3.00 P.M., Broad and Market Streets, on site of Penn Square, formerly Centre Square, on which was a Friends’ meeting-house in 1685; Rochambeau’s Encampment, 1781; Wayne’s Encampment, 1794; and the first city waterworks in 1801; this is the largest single building in America; covers four and a half acres, French, begun in 1871, white marble with granite base; built in the form of a hollow square, with passageways connecting both Market and Broad Streets; contains 662 rooms; the tower, on the north center, about 550 feet high, is surmounted by a colossal bronze statue of William Penn; center and corner pavilions have attic stories, and hanging stairs of polished granite; architect, John McArthur, Jr.; chief points of interest are the council chambers; mayor’s reception room, with portraits of Philadelphia mayors; and state court rooms; from the roof is an excellent view of the city. To Alexander Milne Calder, Philadelphia is indebted for the applied sculpture, the artistic feature of the building, many scores of figures, symbolic of the history of this nation

and the world, fine types of Indians, and other races; the negro heads being known among artists as the best of their kind; ornamentation symbolic of music, art, science, and commerce, is used as an integral part of this great public edifice, an inherent factor in true decoration, where it comes into its own, as well as in gardens, parks, boulevards, and plazas. Statues outside, on City Hall pavement, are, General John F. Reynolds, by Rogers; General McClellan; the Pilgrim by Saint Gaudens; the Quaker by Giuseppe Donato; Stephen Girard and John Wanamaker by J. Massey Rhind; Joseph Leidy, M.D.; President McKinley, and John C. Bullitt. COLLEGE OF PHYSICIANS, Twenty-second Street, above Chestnut, English; built, 1910; architects, Cope & Stewardson. DROPSIE COLLEGE, Broad Street below York, French; architects, Pitcher & Tachau. HAMILTON COURT, Thirty-ninth and Chestnut Streets, Italian; steel frame faced with brick and limestone; an apartment house built around an open court, recalling very strongly, both in color and detail, the earlier Venetian palaces. MEMORIAL HALL, Fairmount Park, German, granite; built, 1876; architect, Herman J. Schwarzmann; one of the best designed monumental buildings in the city. UNION LEAGUE addition, Fifteenth and Sansom Streets, Italian; steel frame, faced with limestone; built, 1912; architect, Horace Trumbauer: a very dignified and restrained elevation, suggestive of a Roman palace.

=Spanish.= THE FIRST CHURCH OF CHRIST SCIENTIST, Walnut Street above Fortieth; architects, Carrere & Hastings. PENNSYLVANIA INSTITUTE FOR THE INSTRUCTION OF THE BLIND, Overbrook; Spanish mission; architects, Cope & Stewardson.

=English.= MELLOR, MEIGS AND HOWE OFFICE, 205 South Juniper Street, rough brick; architects, Mellor & Meigs.

THE ATHENAEUM of Philadelphia, 219 South Sixth Street; architect, John Notman; has best points of work done in 1850, showing traditions of the past, with developments and characteristics of its own; interior has a most beautiful reading room. THE UNIVERSITY BUILDINGS, from Thirty-fourth to Fortieth Streets, Walnut Street to Woodland Avenue, add much to the architectural attraction of West Philadelphia; entrances to the campus, near the dormitories, are fine Tudor gateways, wrought iron, with brick and stone piers. (See University of Pennsylvania.) Hon. James Arthur Balfour said in 1917, “The Americans build Brobdignagian cathedrals, and use them for office buildings.” THE SKYSCRAPERS. ADELPHIA HOTEL, Thirteenth and Chestnut Streets, Italian Renaissance, brick and terra cotta; built, 1914; architect, Horace Trumbauer; the arabesque detail on lower stories of the façade, and pattern formed by projecting bricks, on the stories above, are worthy of notice; interiors are pleasing and architecturally correct. BELL TELEPHONE, a Parkway building, corner of Seventeenth and Arch Streets; height above ground 273 feet; stone; with interesting façade; architect, John T. Windrim. BELLEVUE-STRATFORD HOTEL, southwest corner Broad and Walnut Streets, French Renaissance; steel frame, faced with terra cotta; architects, Hewitt Bros. Most beautifully proportioned and artistic business building in Philadelphia. BOURSE, Fourth to Fifth Streets, below Market; adaptation of the François Premier; with fine feeling of dignity, in placing within the broad paving; architects, Hewitt Bros. BULLETIN BUILDING, Juniper and Filbert Streets, French; steel frame, faced with terra cotta; architect, Edgar V. Seeler. CURTIS PUBLISHING COMPANY, Sixth and Walnut Streets, modern adaptation of Georgian; steel frame, faced with white marble and brick; built, 1910; architect, Edgar V. Seeler; faces Independence Square, and although thoroughly modern, harmonizes perfectly, both in color and design, with the historic Georgian group, of which Independence Hall is the center, and adds to the quiet colonial atmosphere of the Square; interior is excellently designed; entrance, lobby, editorial offices, and the employes’ dining room being of particular interest. Mechanical equipment is the finest of its kind in the world, producing an average of 5,558,600 complete paid for publications per issue of the _Ladies’ Home Journal_, _Saturday Evening Post_, and _The Country Gentleman_ for six months ending June 30, 1924. Twenty original paintings, and the mosaic “The Dream Garden,” by Maxfield Parrish, a mural made of Tiffany favrile glass, the work proceeded through an entire year, in the Tiffany Studios, where each piece of glass was fired under the personal supervision of Mr. Tiffany and Mr. Briggs; time can never impair its freshness, color, or luminosity. Visitors will be shown the entire plant daily, except Saturdays and Sundays, between 9.00 A.M. and 5.00 P.M. FARM JOURNAL, Seventh Street and Washington Square, Georgian; colonial brick and Indiana limestone; architects, Bunting & Shrigley. HARRISON BUILDING, Fifteenth and Market Streets, François Premier; built, 1895; architects, Cope & Stewardson; an unusual example of well-studied, though elaborate Renaissance detail; notice the graceful roof, recalling the charming chateaux along the Loire. LAND TITLE BUILDING, southwest corner of Broad and Chestnut Streets, modern adaptation of classic; steel frame, faced with gray granite and brick; architects, D. H. Burnham & Co., Chicago; contrast the scale of the order, in the newer portion of the building on Broad Street entrance, with the insignificant order in the old building. MANUFACTURERS’ CLUB, Broad and Walnut Streets, Italian Renaissance; built, 1914; steel frame, faced with limestone; architects, Simon & Bassett; has a handsome façade, crowned by a daring Florentine cornice; interior unusually interesting in detail. RACQUET CLUB, Sixteenth Street below Walnut, Georgian; colonial brick, marble trimmings; architect, Horace Trumbauer. REAL ESTATE TRUST BUILDING, southeast corner of Broad and Chestnut Streets, Renaissance; architect, Edgar V. Seeler. RITZ-CARLTON HOTEL, Broad and Walnut Streets, modern adaptation, style of the Adam Brothers; built, 1912; steel frame, faced with colonial brick and Indiana limestone; architects, Warren & Wetmore, New York, Horace Trumbauer, Philadelphia, associate. The keynote of this structure is refinement and good taste; a recognition of the fact that commercialism and good architecture are by no means incompatible. STEPHEN GIRARD BUILDING, Twelfth and Girard Streets, modern adaptation of Greek classic; built about 1894; steel frame, faced with brick and marble; architect, John T. Windrim; details of this building are interesting; note the bronze caryatid figures which support the heads of the second story windows; the wrought iron gates to the court on Girard Street rank with the best modern wrought ironwork in the city. WANAMAKER STORE, Chestnut, Market, Juniper, and Thirteenth Streets, modern adaptation of Italian Renaissance, built, 1910; steel frame, with light gray granite; architects, D. H. Burnham & Co., Chicago; exterior of this store is one of the finest in the city, it is simple, dignified, and impressive, without being monotonous; the great scale of the Doric order at the base, the severe wall treatment, and the splendid cornice, combine to express a purity and loftiness seldom equaled in commercial buildings; a guide may be had, upon application, who will conduct visitors through the entire building including the kitchens. WEST PHILADELPHIA HIGH SCHOOL, Forty-sixth and Walnut Streets, Tudor Gothic; rough brick and Indiana limestone; built, 1913, by the City Architect. WIDENER MEMORIAL HOME for crippled children, Broad Street and Olney Avenue, Georgian, built, 1906; Harvard brick and marble trimmings; architect, Horace Trumbauer; has a very beautifully designed wrought iron gateway.

To make a “City Beautiful” is to give it wide streets, lined with handsome buildings and houses, plenty of parks, boulevards, and to rid it of rows upon rows of semi-shanty premises, small, ill-kept, and unattractive. Each new building that is put up within the city limits should, in its arrangements and architecture, help toward making the locality in which it is erected more attractive than at the present time. This idea has been carried out in the CARNEGIE FREE LIBRARY buildings, scattered about within the limits of the municipality, as their varied exteriors are very distinguished, from an architectural point. The interiors are designed to avoid the multiplication of corridors; principal rooms used for reading, the art and reference rooms, are stately and fine.

An interesting GATEWAY is the entrance to the MANHEIM CRICKET CLUB, Germantown, Georgian; consisting of massive brick piers, surmounted by stone caps, connected at the top with a wrought iron supporting lantern, below which are the heavy wrought iron central gates; this, with smaller gateways, and a most attractive brick wall, forms the enclosure for the grounds; architects, McKim, Mead & White.

ART COLLECTIONS AND ART SCHOOLS

Philadelphia being the seat of government of colonial times, is extremely rich in historic portraits. They are in The Pennsylvania Academy of the Fine Arts; Independence Hall; Historical Society of Pennsylvania; Carpenters’ Hall; American Philosophical Society; Pennsylvania Hospital; Academy of Natural Science; The Library Company of Philadelphia; Mercantile Library; College of Physicians; United States Mint; University of Pennsylvania; many banks and insurance companies.

PENNSYLVANIA ACADEMY OF THE FINE ARTS, Broad Street above Arch; open free daily, 9.00 A.M. to 5.00

P.M., Sundays, 1.00 P.M. to 5.00 P.M.; fee for special exhibitions; was the first art institute in America, founded, 1805; its history is in no small measure the history of American art itself, and dates back to 1791, when Charles Willson Peale attempted to organize in Philadelphia a school of art; from this grew, in 1794, the Columbianum, which held the first exhibition of paintings, in 1795, in Independence Hall. The permanent collection of paintings and sculpture now includes the Gallery of National Portraiture, with the largest number of portraits by Gilbert Stuart to be seen in any museum; and notable works by other early American painters--Benjamin West, Washington Allston, Matthew Pratt, the Peales, Sully, Neagle, Inman, Eichholz, Trumbull, and Bass Otis; the Gibson Collection, largely composed of the Continental schools; Temple collection of modern American paintings; important works by many of the world’s greatest artists; and the Phillips collection of about forty thousand etchings and engravings. Annual exhibitions are, miniatures, water colors, illustration, and etchings in November and December; oil painting and sculpture in February and March, considered the salon of living American artists; also special exhibitions and lectures on art. The Academy coöperates with the system of International Catalogue Exchange.

Since the beginning of the Academy’s existence, men and women whose names have become illustrious in the annals of American art have been enrolled as students. The schools are equipped in every way to teach the technique of painting and sculpture, the faculty is composed of representative artists of the day; collections, galleries, classrooms, models, and casts are admirably fitted to afford instruction fully equal to that obtainable in Europe. Many substantial prizes are awarded annually to students upon the merits of their work. The William Emlen Cresson Travelling Scholarships send, on an average, sixteen students abroad yearly for four months, and enable them to return to the Academy and continue their studies without payment of tuition fee. The Fellowship of the Pennsylvania Academy of the Fine Arts, organized 1897, sends out annually two exhibitions of original oil paintings by notable artists; one to other cities, the other to the Philadelphia public schools, where they remain one month in each school; while there, the paintings are explained by a member of the Fellowship to school children, thus teaching them true appreciation of art. A Picture Purchase Fund was established in 1912, with which pictures have been bought, from Fellowship Exhibitions, and placed in Philadelphia libraries and public schools.

JOHN GRAVER JOHNSON MUSEUM OF PAINTINGS, 510 South Broad Street, left by bequest April, 1917, to the City of Philadelphia, is open to the public; throughout Europe and America this vast collection of old and modern masters is famous for extent and merit. “No other American collection has so wide a range and so even a quality,” says F. Mason Perkins; it contains scores of examples which could not be duplicated at any price. Noted for the completeness of different schools of painting.

PHILADELPHIA SCHOOL OF DESIGN FOR WOMEN, southwest corner of Broad and Master Streets; first industrial art school in this country; similar to the “Ecoles Professionelles des Femmes,” in Paris; was founded in 1844 by Mrs. Sarah Peters, the American wife of the British Consul in Philadelphia, in her own house; later, the Franklin Institute assumed charge of the classes until 1853, when it was incorporated, and a Board of Directors elected. Its aim is to put art students in touch with business demands, as well as to cultivate, to the highest degree, their artistic ability. The Normal Art Course embodies all the special studies required by modern educators for teachers of art and design, and with courses in the fine arts, illustration, and costume illustration; has trained many women, now earning handsome emoluments and winning distinction. The residence on Broad Street, forming entrance to the school, which occupies large buildings in the rear, was the home of Edwin Forrest, a famous tragedian; the fine gallery which he erected to house his collection of paintings, now at the Forrest Home for Actors at Holmesburg, is used for annual exhibitions of the school’s painting classes. Edwin Forrest died here in 1872 and John Sartain in 1897; John Sartain was celebrated as a mezzotint engraver, and lived here with his daughter, Miss Emily Sartain, then principal of the school, herself a skilled painter, and engraver in mezzotint; who with her well chosen faculty of eminent artists, carried to a prosperous fulfilment Mrs. Peters’ initiative effort.

PENNSYLVANIA MUSEUM AND SCHOOL OF INDUSTRIAL ART was founded in 1876, as a concrete embodiment of the lessons taught by the Centennial Exhibition, and has developed forms of artistic craftsmanship that were practically unknown in America. The Museum is housed in Memorial Hall, Fairmount Park, memorial of the Centennial; Modern Renaissance; architect, Herman J. Schwarzmann. Open free, Mondays, 12.00 M., other days 9.30 A.M., closing 5.00 P.M., Sundays, 1.00 P.M. to 6.00 P.M. Established as a museum of art in all its branches and technical application, with a special view to the development of the art industries of the state. Among its important collections are the W. P. Wilstach paintings, about five hundred old masters, with their schools; and contemporary international paintings, belonging to the City of Philadelphia; with $700,000 endowment, interest to be used for their care and increase, by the Commissioners of Fairmount Park; among the many brilliant artists represented are, Whistler, Munkácsy, Sorolla, Zuloago, Velasquez, the Barbizon, Italian, and Dutch Schools of Landscape. The famous Bayeux tapestry is here; laces; vestments; porcelains; enamels; carved ivories; period furniture; some of the Edwin Atlee Barber collection of American pottery and porcelains; Lewis collection of Swiss stained glass, sixteenth and seventeenth centuries; Frishmuth collection of colonial antiquities. A Bureau of Identification is maintained where art objects may be classified.

The school is at the northwest corner of Broad and Pine Streets; porch of this building, facing Broad Street, is a fine example of Tuscan architecture, erected, 1828. The school has forty instructors. Free scholarships are given in each county of this state. This is the leading school in America in associating the study of art with practical training; through its equipment students not only design, but actually manufacture; it includes a complete textile plant with looms, dye house, and all related appliances which make possible the production of most artistic fabrics; other courses are cast and wrought metal; furniture; leather work; pottery; garden furniture in cement; mosaic; also the Normal Art Courses, illustration; architectural drawing; modeling; interior decoration; book binding. Classes are attended by men and women, who pursue exactly the same studies. Graduates are sought to fill lucrative positions as designers; artistic craftsmen; and art teachers.

DREXEL INSTITUTE, Thirty-second and Chestnut Streets. A day and evening technical school of Art, Science, and Industry for men and women; founded by Anthony J. Drexel, 1891; Renaissance, brick; architects, Wilson Brothers. The leading American and European current periodicals relating to art, science, and technology are in the library. Art Gallery contains collections owned by John D. Lankenau, works by modern German masters, and Anthony J. Drexel, works of International, contemporary, modern painters. The Museum, open free 10.00 A.M. to 5.00 P.M. daily, except Sundays, includes examples of Industrial Art and the Decorative Arts of India, Egypt, China, Japan, and Europe.

GRAPHIC SKETCH CLUB, 719 Catharine Street, founded by Samuel S. Fleisher in 1899, to provide, free, an art center which should give the culture craved by many intelligent young people, to whom it had been denied by circumstances. The Club House is open only at night, Saturday afternoons, and all day Sundays. This is an Art Club in effect, as well as name; rooms are artistically furnished in beautiful color harmonies, and embellished with choice bronzes bought at our Academy exhibitions, and fine porcelains. Students are educated in art, for the practical good it will do them, and cultural growth; all are day workers. The faculty is composed of well known artists; classes include portrait and still life painting; illustration and sculpture. From this school have gone some of the most original workers in the schools of the Academy of the Fine Arts. Landscape classes are in session during the summer. Lectures are given on art or musical topics. Membership in the Club is attained by attendance in the classes for three years.

PUBLIC ART SCHOOL, Park Avenue and Master Street, founded by Charles G. Leland, now under the direction of the Board of Public Education; open to pupils in grammar grades of public schools. A course of study was planned, including drawing, clay modeling, and wood carving, to train students to originate design, and do the manual work as well, so that the designer should be the artisan also.

ART CLUB, 220 South Broad Street. Annual exhibition of paintings and sculpture, gold medal awarded; and special shows by individual artists.

ART JURY, City Hall, Philadelphia, created by Act of Legislature, 1907, providing, “That in every city of first class, there shall be an Art Jury, composed of the Mayor and eight others, of whom shall be, one each, painter, sculptor, architect, and Park Commissioner, to pass upon design and location of all buildings; bridges; arches; fountains; or fixtures to be erected in the city.”

CITY PARKS ASSOCIATION, City Hall.

DARBY SCHOOL OF PAINTING, Fort Washington, Montgomery County. Outdoor classes. Hugh H. Breckenridge, 10 South 18th Street, Philadelphia.

FAIRMOUNT PARK ART ASSOCIATION, organized, 1871. 320 S. Broad Street.

PENNSYLVANIA SOCIETY OF MINIATURE PAINTERS, organized, 1901. Annual fall exhibition, Pennsylvania Academy of the Fine Arts.

PHILADELPHIA CHAPTER, AMERICAN INSTITUTE OF ARCHITECTS, 1301 Stephen Girard Building; organized, 1869.

THE PHILADELPHIA SKETCH CLUB (men), 235 South Camac Street, organized, 1860. Annual fall exhibitions of members’ work; also special exhibitions.

PHILADELPHIA WATER-COLOR CLUB, Pennsylvania Academy of the Fine Arts, annual international exhibitions; also Traveling exhibitions of members’ work.

PLASTIC CLUB, women, 247 South Camac Street; organized, 1897. Annual and special exhibitions; lectures, and sketch classes.

T-SQUARE CLUB, 204 South Quince Street, founded, 1881. Annual architectural exhibition; drafting; decorative painting; modeling; and architecture in coöperation with Society of Beaux-Arts Architects, New York City.

The D’ASCENZO STUDIOS, for Stained Glass, 1604 Summer Street, founded twenty years ago, include designing; painting; firing; and glazing; work is begun and completed, in both modern and antique, with preference for the antique school, for architectural fitness and conventionality; also glass mosaic and mural decoration. D’Ascenzo’s art may be seen in many important churches and buildings in this country; in the Chapel at Valley Forge, and in Philadelphia may be mentioned St. Mark’s Protestant Episcopal Church, Frankford; St. James’ Protestant Episcopal Church, Twenty-second and Walnut Streets; St. Patrick’s Roman Catholic Church, Twentieth and Locust Streets; Synagogue Rodeph Shalom, Philadelphia.

WILLIAM WILLET AND ANNIE LEE WILLET STUDIOS, FOR STAINED GLASS, 226 South Eleventh Street, formerly of Pittsburgh. While all the world is deploring the loss of the magnificent old glass in the cathedrals of Europe, here the art of fused glass has been raised to such perfection that their great windows have all that the old work has, of depth, glow, and shadow, under modern conditions of stability; among their notable windows are, the Sanctuary Window, West Point Military Chapel, New York; Proctor Hall, the Graduate School, Princeton, New Jersey, great west window; many in the churches and public buildings of Pittsburgh, Chicago and elsewhere; in and near Philadelphia, in Summit Presbyterian Church, Carpenter and West View Streets, Germantown; St. Michael’s Sanctuary window, High Street, Germantown; John Chambers Memorial Church; The Buchanan Memorial, St. Nathaniel’s Church, Kensington; the Harrison Memorial; Holy Trinity Church, Nineteenth and Walnut; the Leta Sullivan in the Assumption, Strafford.

Notable private art collections in Philadelphia, that may sometimes be seen by writing for permit, which for variety and value, have few peers are: