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HE United States is one of the most favored nations in the matter of space in the Fine Arts Section. Yet the space is very limited, and there has been much dissatisfaction expressed over what in reality will be a boon to the vast majority of visitors. They are spared the distress of a superabundance of exhibits, the weariness of repletion, and instead receive a succinct impression of the characteristics of each country's diplay. It is safe to say that in no part of the Fine Arts Section of any nation is there a more compact and illuminative résumé of tendencies than in the Architectural Exhibit of the United States.

One small alcove in the corridor has been assigned to the architects, and of it they have made the most admirable disposition. The arrangement is in the nature of a triptych, except that the centre portion is subdivided into three parts. These five panels are enclosed in handsome ebony frames and glazed with plate-glass, behind which are arranged a series of photographs of completed buildings. The architects' natural predilection for plans and elevations, drawings intelligible only to the expert eye, has been set aside. An

other distinct advantage is that in a great many cases the prints, in addition to the building itself, show parts of other structures, thus giving vivid suggestions of the architecture in its relation to the environment, which is far more illuminating than the disconnected record. This is particularly valuable in the glimpses afforded of city architecture, where may be noted the gradual transition. from European standards to the colossal construction peculiarly American. For the object aimed at has been to confine the exhibits, as far as possible, to those which illustrate American characteristics, either directly, as in the case of office buildings, hotels, and country homes, or indirectly, as indicating the moral and intellectual growth of the nation-for example, in libraries and colleges.

It is the former group which will chiefly in-. terest foreigners. Our libraries and colleges, for the most part designed on Classic and Gothic lines, are at best only reminiscent of other goodwork elsewhere. Many of them are frankly copies. They help to equalize the dignity of American civilization, but contribute nothing to the technical advance of architectural art, and to

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the foreigner will be of only moderate interest. It is very different with the first-mentioned structures, particularly with the office buildings. They are distinctively American, and the exhibits of them will be eagerly studied by those who are interested in natural architecture.

One constantly hears the question asked, Will America originate a new and distinctive style of architecture? The conservatives shake their heads discouragingly, and remind us that the best has been done already, and that the craving for originality is a disease to which youth is subject, like the measles. No one will dispute the point, stated that way; but still it is a fact that in their endeavor to meet the new conditions (for these latter at any rate are new) they have been unable to copy; they have, at least, been obliged to apply old principles in a new way, by imperceptible gradations getting farther and farther away from the originals.

It was an excellent idea to include one or two views of New York from the harbor. To appreciate the grandeur of these buildings one needs the help of a long perspective; the main æsthetic objection to them at present is that they are out of all proportion to the narrow streets upon which they front. But seen from the harbor, massing up against the sky, they produce an effect as picturesque as any castle on the Rhine, and in their suggestion of teeming strength produce an exhilaration which makes enthusiasm not only natural but obligatory.

Another branch of architecture in which characteristics distinctly American are apparent is in the designs for homes, especially those in the country. These are frankly eclectic; a hint from this style, others from others, the merit not being

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in the borrowing, but in the fusing into a composite harmony, suitable to our climate and the conditions of American family life. Here again the law of growth is in operation, and something is being evolved which in time will be as distinctively American as the stone built homes abroad which were developed out of feudalism, or those timber ones which in turn represented the revolt from it.

The examples selected cover a considerable part of the country and are fairly inclusive of the work of the best-known architects. Yet it is noticeable that the West and Middle West are very inadequately represented, which is regrettable, because in these sections of the country very individual work is being done. Particularly I notice the absence of any work by Louis H. Sullivan, of Chicago, without question one of the most individual architects in the country, especially in the designing of office buildings. The omission recalls the fact that the Transportation Building at the World's Fair, erected by him when in partnership with Mr. Adler, was the feature of the Exposition which attracted the most attention from the French expert visitors. Among the exhibits is a view of the Omaha Exposition, which followed, at a respectful distance, the character of the one at Chicago. It is an interesting reminder of the difference which exists between our idea of an exposition and the French one.

We have made the occasion one for demonstrating the beauty of the uniform scheme of classical architecture, while the French have always emphasized the temporary nature of the occasion, and adopted a bizarrerie which one can only describe as Exposition Style.

THE BASTILE COLUMN, PARIS. UNDER WHICH AN ENORMOUS WATER TRAFFIC PASSES

HALL IN RESIDENCE OF CHARLES F. SPRAGUE LITTLE & BROWNE, ARCHITECTS

This is no architectural persiflage. While the flimsy new old Colonial, everywhere to be seen, is unquestionably mischievous and false, this interior is, on the other hand, treated with a strong, firm touch that denotes life and promise. A quasi-Italian garden has made Mr. Sprague's place famous (?).