The Brochure Series

of Architectural Illustration.

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The placing in position of the great decorative wall painting of Puvis de Chavannes in the Boston Public Library again directs public attention to this remarkable building. To us this last addition to the architectural work (for every feature of the building, whether constructional, utilitarian, or purely decorative, is architectural in the sense of forming an essential part of an otherwise incomplete composition) is the one feature thus far introduced which does most to bind together the varying elements in the decorative scheme of the interior. It occupies the most important position in the building, at the head of the monumental staircase, and forms not only a centre of interest aesthetically, but serves as a connecting link between the other features, which have before seemed more or less unrelated. The grand staircase, built of Siena marble, the finest example of the intelligent use of colored marble in this country, has until now lacked its foil, which the dull blue walls now give. The added pleasure which is apparent in viewing the stairway emphasizes the importance of the guiding intelligence which has made all this possible. There is in our experience only one other building in the country in the interior treatment of which this intelligence is evident in anything like the same degree. The house built by Messrs. McKim, Mead, and White for Mr. Henry Villard is the most completely satisfying residence we have ever seen, and its success is due to the element of restraint shown throughout, and to the harmony between its parts. There are other houses in which may be found just as effective single features, but there is some discordant note which destroys the harmony. The Library is not an expensive building; its single features may, with the exception of the staircase, be equaled in beauty by many other buildings in this country, but no other can compare with it in the sense of complete satisfaction which it awakens on account of this harmony of parts.

We have pointed out only the harmony in color, which of course in itself is of secondary importance, and if it were not accompanied by intelligent harmony of plan, and treatment of detail in proportion and scale could not make the composition a satisfactory one. The question of decorative color treatment comes up at this time because of the surprising effect which the addition of a little patch of colored wall makes in the whole interior. Even the uneducated, superficial observer is impressed with the feeling of completeness and thoughtful intention in everything connected with the building.