: The Brochure Series of Architectural Illustration Vol. 01 No. 09 1895 Pulpits of Southern Italy by Various - Architecture Periodicals The Brochure Series of Architectural Illustration

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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.

Brochure Series Competition.

Number One.

DESIGN FOR THE CASE OF AN UPRIGHT PIANO. PRIZES OFFERED BY THE HENRY F. MILLER & SONS PIANO CO., BOSTON.

The object of this competition was not to secure designs for pianos at the least possible cost, as is the object of many competitions in design, but merely to attract the attention of designers to this special problem, and take one more step towards a better condition of things in the piano business. The Henry F. Miller Co. have for several years followed a policy the results of which are seen in some of their later designs. It has been the practice to turn special cases over to furniture and cabinet makers, entailing an expense that has been practically prohibitory for all but the richest clients architects have. The Miller piano factory has been equipped with every facility for executing work from architects' special designs and within a reasonable cost. The prizes have been offered in the most liberal spirit, and while a large number of the designs submitted were unsatisfactory, they have been instructive and their shortcomings will be borne in mind in preparing the program of another competition, with larger prizes, which will shortly be announced in THE BROCHURE SERIES.

Seventy-five designs were submitted, several of which arrived too late to be entered. The drawings were very carefully examined by the officers of the company, assisted by Mr. C. Howard Walker, and the following awards were made:--

First prize, , A.B. Le Boutillier, Boston; second prize, , Edward F. Maher, Boston; third prize, , James C. Green, Brooklyn, N.Y.

REPORT OF THE JURY.

In judging the designs for piano cases, the element of economy, though recognized, played but a small part in the decision of the judges. The qualities which made the premiated designs superior to others, were those of refinement, beauty of line, and of general proportions.

A piano case presents, necessarily, but restricted opportunity for design, and any attempt at great novelty is apt to be disastrous; if originality appears, it will be in the smaller details.

There also exists the question of style, which is determined largely by the character of the room in which the piano is to be placed, and yet, if the element of style is forced too far, it prevents the use of the design for any but one case.

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