of the immediate followers of Wren. The resemblances between St. Michael's and St. Martin's tend to strengthen this conjecture. St. Paul's (p. 28) in New York (1767) was the most important of the colonial churches of the city and in style resembles St. Michael's, being ultimately inspired by Wren's city churches in London.

A local tradition refers the design of the College of William and Mary (p. 332), at Williamsburg, Va., to Sir Christopher Wren himself, but the architecture scarcely bears out the legend. It is, however, in Virginia and in Maryland that the colonial architecture is seen at its best. The great tobacco-planters of those colonies formed a real landed gentry, such as could scarcely be said to exist in any other of the colonies, excepting the holders of manorial grants on the Hudson River, who were much fewer in numbers. The farmers of New England and Pennsylvania were a yeomanry and there were very few landed proprietors in New England who could rival the scale of living of the tobacco-planters, whose estates and agricultural operations were extensive, whose habits were hospitable and commonly extravagant, and who lived up to their easily acquired incomes. They possessed real 'seats', and these are the most pretentious and the most interesting examples of colonial domestic architecture. Such mansions as Brandon, Shirley, and Westover in Virginia (see p. 330), and Homewood and Whitehall in Maryland, testify to a high degree not only of social refinement on the part of their owners but of skill on the part of the artisans who built them, for the profession of architecture was almost if not quite unknown to the colonies. The architecture of these mansions consisted in a simple, almost invariably symmetrical composition, often a centre with wings connected with it by a curtainwall, in a careful and generally successful proportioning of these parts and of the stories, which were usually two and very rarely more than three, and in the refined though conventional design and skilful execution of the detail, especially of the detail in woodwork. The porch was the feature of the front, and in houses of much pretension generally exhibited an order, consisting of a pair of columns sustaining an entablature and a pediment. The bricks were imported from England, or often, in the northern colonies, from Holland, and stone was sparingly employed. Many of the country seats of the landed gentry have been piously preserved, but in towns the colonial houses have been for the most part destroyed. Annapolis (p. 250), in Maryland, named after Princess Anne, has been left on one side by the march of improvement and remains to show many specimens of the Georgian architecture, which still give it a strong resemblance to an English town that has remained inactive for a century.

The colonial architecture continued to prevail after the close of the politically colonial period. The first Capitol of the United States at Washington was a very good specimen of it, although the design of it has been obscured by the later additions in a different taste. Although the plan which was accepted was the work of an amateur.

the work of construction was assigned to a trained architect, to whom the design of the building was really due. At the instigation of Jefferson, then President and himself a dabbler in architecture, the architect attempted to compose an 'American order' by conventionalising the foliage of plants peculiar to this continent. Some of the capitals engendered by this essay are to be seen in the interior of the Capitol (p. 88), but it is upon the whole fortunate that no attempt was made to employ them in the exterior decoration. The building was burned by the British in 1814, but was rebuilt with additions and variations during the next decade. To the same period belong the State House of Massachusetts at Boston, the City Hall of New York, and the Merchants' Exchange of Philadelphia, all specimens of educated and discreet architecture, as it was at that time understood in Europe.

The inspiration of these works and of others like them was distinctly Roman. The Greek revival that was stimulated in Europe by the publication of Stuart's work on Athens was somewhat belated in reaching the United States, where the Roman Renaissance of Wren and his successors was in full possession. The Grecian temple was adopted at the national capital as the model of a modern public building about 1835, with such modifications as were compelled by practical requirements. The Treasury, of the Ionic order, the Doric building of the Interior Department, commonly called the Patent Office, and the Corinthian General Post Office were among the first fruits of this cult. From Washington it gradually spread over the United States, Girard College (p. 217) at Philadelphia and the SubTreasury and the Custom House at New York being among the finest and most monumental of the American reproductions. For the next 15 years the Grecian temple in stone or brick was commonly adopted for churches as well as for public buildings, while it was reproduced in wood for dwellings of architectural pretensions, either in town or country. In 1851 the extension of the Capitol at Washington was begun. It consists of two wings, fronted with Corinthian colonnades, making the extreme length of the building 750 feet, and the addition of a central dome of cast iron, which attains the disproportionate height of over 300 feet and is, in other respects, not very successfully adjusted to the building which it crowns. The Capitol thus completed became the model for American public buildings. Nearly all the State Houses have followed its general disposition and have included a lofty dome.

Although there are some earlier churches in a style which the designers of them believed to be Gothic, the Gothic revival in the United States may be said to have begun with the erection of Trinity Church (p. 27) in New York in 1846, which remains, perhaps, the most admirable piece of ecclesiastical architecture in that city. Within a few years thereafter Gothic had almost entirely superseded classic architecture as a style for churches, although in commercial buildings

the models of the Renaissance were preferred, and these were imitated in fronts of cast-iron to an extent quite unknown elsewhere. The Gothic designers, however, insisted upon the applicability of their style to all uses and made many essays of more or less interest, in public, commercial, and domestic building, of which there are examples in all the Atlantic cities.

Up to this time, although among the leading American architects were Germans and Frenchmen as well as Englishmen, and an increasing proportion of native designers who had made their studies at the Ecole des Beaux Arts, or in the office of Continental architects, the architecture of the country had upon the whole been a faint and belated reflection of the current architecture of England. This continued to be the case during a brief season of experiments with 'Queen Anne'. But at this time there arose an American architect whose personal force, manifested for the most part in his own free version of the Southern French Romanesque, very deeply impressed his contemporaries and his successors and greatly affected the building of the whole country. This was Mr. H. H. Richardson (1838-86), who came into a national celebrity with the completion of Trinity Church, Boston, in 1877, when the author was thirty-nine years old. In the nine years of life that remained to him, he made such an impression upon his profession that almost every American town bears traces of his influence. His own most noteworthy works, besides Trinity, are the county-buildings at Pittsburg (p. 241), the Senate Chamber, the Court of Appeals, and the Western Staircase of the Capitol of New York at Albany (p. 155), the Albany City Hall (p. 156), the Cincinnati Board of Trade (p. 308), Sever Hall and Austin Hall at Cambridge (p. 83), and a warehouse in Chicago (p. 284). As might have been expected, he has had many imitators, but the extent and the value of his services to American architecture are best seen in the work of architects who have recognized the force that lay in his simple and large treatment, and have recognized also that the force of this treatment was independent of the detail he employed and of the style in which he worked. This lesson has been learned and applied by the architects of many of the towering 'elevator buildings' erected for commercial purposes, which are so marked features of the American cities, and are the unique contribution of American architects to their art. The introduction of the elevator made possible a great increase in the number of stories of a commercial building, which before that introduction were usually limited to five, whereas quite three times that number have been proved to be practicable and profitable. The earliest of the elevator buildings were the Western Union building (p. 28; since partly destroyed and rebuilt) and the Tribune building (p. 29) in New York, and these are but twenty years old. The architectural problem presented by these structures was entirely new, and no precedents could be invoked for their treatment. Many of the different solutions of it. offered by American

architects are of high ingenuity and interest. Boston, New York, Philadelphia, and Chicago offer numerous commercial buildings that are impressive and admirable pieces of architecture, although the conditions of their erection have compelled the designers to disregard many accepted canons of their art, and they seem voluntarily to have disregarded many others. Some of these structures are unmistakable and tolerably consistent examples of historic styles, but others, equally successful, are impossible to classify.

While American architects have been compelled to contribute to architecture a new type in the elevator building, they have won successes not less genuine, though of course less startling, in domestic architecture. Here also they are almost equally independent of convention, and this, as is often apparent in their successful essays, not from ignorance but from deliberate choice. The discipline of the schools has enabled a designer to produce work that is clearly scholarly and as clearly not scholastic. Dwellings of recent erection are to be found in the suburbs of Boston, in the new 'West Side' of New York, on all three 'sides' of Chicago, and indeed in all the chief towns of the North and North-West that are so far from being examples of styles that they betray a complete freedom of eclecticism and that are yet evidently the work of accomplished and artistic designers. The massiveness of the Romanesque in which Mr. Richardson worked sometimes even in his hands degenerated into a coarseness and clumsiness that are especially repugnant to the spirit of domestic architecture. His imitators have exaggerated these defects and omitted the qualities which in his work atoned for them, and the most successful of recent American dwellings that can be classified as Romanesque are of a lighter and more enriched Romanesque than that which he employed. The French Renaissance of Francis I. has appealed to many of the architects as a style at once free and picturesque and at the same time refined, and some interesting houses have been done in it, especially in New York (comp. p. 35) and Philadelphia. In country-houses, also, American architects have had their successes, and a fairly comprehensive view of their achievements in this kind can be had from a sojourn at any of the watering-places on the coast of New England or New Jersey. Architecturally as well as otherwise Newport is the most interesting of these.

The European historians and critics of architecture who have so long been insisting that 'Art is not archæology' may find in the current building of the United States that precept reduced to practice. An absolute freedom is the rule alike among competent and incompetent architects, subject with the former class to the artistic unity of the resulting work. In commercial and domestic architecture, along with much wildness and crudity, this freedom has produced much that is interesting and suggestive to the European student of architecture, and that gives good hope for the progress of architecture in the United States.

XV. Sports

by

Henry Harmon Neill.

Only within thirty years have outdoor sports become a popular form of amusement in the United States; previous to that time baseball and trotting alone claimed attention. To-day, however, nearly every game familiar to Englishmen is played in the Eastern half of the country, and many are known throughout all the states. The growth has been so rapid that its postponement until the present generation now seems surprising. Perhaps the explanation is that in a new country outdoor labour is so general as to forbid outdoor play; or that Americans have until recently been too busy to amuse themselves except after sundown.

To enter into the spirit of American pastimes, an Englishman need only learn to admire the gait of the trotting horse and to admit the merits of base-ball as a substitute for cricket. All other sports are conducted substantially upon English models: The Running Horses (i.e., race-horses) are all of English blood, and the tracks are becoming annually more like those of Great Britain, straight and hilly courses replacing the level oval mile once universal; the Yachts are growing more substantial in build and more English in model; Foot-ball as played in the States is a modification of the Rugby game; Lawn Tennis, Cricket, Lacrosse, and Polo are played in the same way in both countries; while Rowing and Canoeing are equally popular on each side of the Atlantic.

Though the theory that Base-ball is a development of 'Rounders' is vehemently disputed, the 'National Game' is easily understood by anyone familiar with the old English pastime. It is played in every village, town, and city, and by every school, college, university, and athletic club in the country; but the games most worth seeing are those of the (professional) National League, in New York, Boston, Brooklyn, Cincinnati, Chicago, Washington, Philadelphia, Pittsburg, St. Louis, Baltimore, and Louisville. The club 'representing' each of these cities plays a series of home and home games with every other; the winner of the greatest number is the champion of the year. Minor Leagues' are the Eastern, Southern, and Western, with clubs in the smaller cities. The best amateur games are those of the colleges (especially Harvard, Yale, Pennsylvania, Princeton, and Cornell) and of the Amateur Atlantic Union and the Amateur League. The season begins in May and ends in October. A base-ball team consists of nine men, including the pitcher, catcher, and seven fielders. Enormous salaries (sometimes $ 15,000 a year) are paid to the best professional players, and the game is the vehicle of a huge amount of betting.

Horse Races. See p. 17 under New York. Other meetings are held during the season in or near Chicago, St. Louis, Cincinnati, Louisville, New Orleans, Washington, Saratoga, and elsewhere; but the racing there is not very good.

Trotting Races take place during the season, from May to Sept., on 1500 tracks in the United States owned by as many associations, and at all county and state fairs as well as on many private tracks at broodfarms and elsewhere. Stakes, purses, and added moneys amount to more than $3,000,000 annually; and the capital invested in horses, tracks, stables, farms, etc., is enormous. The tracks are level, with start and