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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.

Of the premiated designs those placed first and second are in distinct styles, the one having almost the character of Fran?ois I, the other being of the time of the Empire. Both, however, are simple and could be placed in rooms of other styles of architecture.

The first prize design is especially commended for the disposition of its ornament, and the delicate but vigorous lines of the bracket beneath the keyboard, or what is technically called the "truss."

The design placed second has excellent proportioning of panels and Empire ornament in excellent relative scale, well disposed.

The design placed third is a most direct development of the requirements, and is a very simple, practicable design with good proportions and lines.

The three remaining designs published were considered worthy of mention, each in its own way. The Gothic design could be made very rich and interesting with panel colored decoration. The upper portion is well proportioned, the lower portion somewhat too meagre. The Colonial design is interesting above the keyboard; the arches below the "trusses" are out of scale. The Baroque design would depend for its good or bad quality entirely upon the delicacy and skill with which the carving was done. Both the Gothic and Baroque designs could only be used in rooms of their own respective styles.

Club Notes.

It is encouraging to note that a new accession to the already imposing list of architectural clubs has been made so early in the season by the organization of a club in Detroit.

On Monday, September 16, thirty-five draughtsmen met at the Detroit Museum of Art and effected a temporary organization of the Detroit Architectural Sketch Club, Emil Lorch being elected Chairman and Alex. Blumberg Secretary. A committee, consisting of W.E.N. Hunter, R. Mildner, and G.H. Ropes, was appointed to draw up a Constitution and By-laws.

The report of this committee was adopted at the second meeting, on September 25, and the following officers and directors elected: President, Emil Lorch; Vice-President, G.H. Ropes; Secretary, E.A. Schilling; Treasurer, R. Mildner; Directors, W.E.N. Hunter, F.G. Baxter, and Alex. Blumberg.

The object of the Club and its proposed methods of study are like those of similar organizations elsewhere.

Few of the existing clubs have started under better auspices, and fewer still could count as many members at their inception.

A number of the other clubs have begun early in the systematic work of the year. The Philadelphia, Baltimore, Cleveland, and Chicago clubs in particular are starting with unusual vigor and promise. Our next issue will have more detailed account of these plans for the future.

Books.

This work is, as its title indicates, a popular handbook of the principles of architecture, and furnishes what has hitherto been practically inaccessible to general readers--a concise explanation of what architecture really means.

The greater part of the work is devoted to the explanation of the theory of design and construction and the general principles in their simpler applications. The subject of ornament including the use of mouldings, sculpture, and plain surfaces, is taken up, and architectural working drawings are explained.

The historical sketch is excellent, although in this direction there is not the same lack of good handbooks as in the theoretical field. The analysis is clear and more easily comprehended than is usual in such treatises.

Notes.

To an architect a convenient drawing table is one of the most important requirements. There are many devices made to meet this requirement, but none have proved more useful or given more general satisfaction than the "Seldis," furnished by Messrs. Frost & Adams, 37 Cornhill, Boston. The special advantages of this table are many, but among them is the fact that the draughtsman can work in a natural position, as the board can be adjusted, so that all parts may be easily reached. Any board can be used and it will not tip over, and being self-locking will remain in any position, and can be adjusted in height to suit the draughtsman. When not in use it can be folded to occupy the same length and width as an ordinary drawing-board. Descriptive circulars will be sent upon application by Messrs. Frost & Adams.

Messrs. Dexter Bros., of 55 Broad Street, Boston, are adopting a very effective method of advertising their English Shingle Stains. We have already referred to their collection of photographic prints published under the title of "Some Houses Near Boston." The illustration on this page is reduced from one of the plates in this collection. They have followed this with an even more attractive pamphlet showing Kennebunkport houses, on which their stains have been used, and they have a third collection in preparation, illustrating Bar Harbor houses. Either of the first two will be sent to any reader of THE BROCHURE SERIES upon receipt of a two-cent stamp, and due notice of the issue of the collection of Bar Harbor houses will be given in these columns. As Dexter Bros.' Stains are used by leading architects throughout the country they have plenty of subjects to choose from in each publication, thus enabling them to publish work that is architecturally interesting. This raises the character of their advertising above the ordinary trade level. Usually publications representing the buildings in which a certain material is used, show good, bad, and indifferent architecture, the good being present in small quantity. The Dexter Bros.' collections show intelligent discrimination, and it is this one thing that makes them worthy of notice.

All who are in any way interested in suburban architecture will find these pamphlets worth sending for. They should have a wide circulation, for they have more than an advertising value.

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