. International studio. scheme of the design was elaborated by thefirm of McKim, Mead v*t White, and as it was dear nor. It is ])robal)Ie that this twofold compositionexcites the immediate attention of the student morethan anv other detail. Perhaps the best way to study such a piece ofcombined sculpture and architecture, carried out from the commem ement that .sculpture would be along traditional and yet original lines of thought, the art most in evidenie, .so a complete scheme, re- is to take one-third of the whole design, such as the minding us of the work of the Renaissance masters north do
. International studio. scheme of the design was elaborated by thefirm of McKim, Mead v*t White, and as it was dear nor. It is ])robal)Ie that this twofold compositionexcites the immediate attention of the student morethan anv other detail. Perhaps the best way to study such a piece ofcombined sculpture and architecture, carried out from the commem ement that .sculpture would be along traditional and yet original lines of thought, the art most in evidenie, .so a complete scheme, re- is to take one-third of the whole design, such as the minding us of the work of the Renaissance masters north doorway, and consider it more in detail, upon a monument of the Sixteenth century, took The tympanum over the door, with its relatively shape through the combined go(xi will of architects large figures and its interesting treatment of a and employers. sacred subject, reminds the student of Italian art, To Mr. Daniel C. Trench was committed the rather strongly of Luca della Robbia, not disagree- XX 5/. Bartholomew s Facade. facade of st. bartholomew s(facing easterly) mkIM, mead & WHITEARCHITECTS ably, not with an impres-sion that too close a studyhas been made of the illus-trious man of the Fifteenthcentury. If less than per-fect satisfaction is felt inregarding this very beauti-ful alto relief it will be be-cause of its lack of perfectharmony with the sculp-ture of the bronze doorsbelow, and still more withthe Procession of the Crosssculptured upon the lintelof the door. That lintel,with its design in high re-lief, is rather of northerninspiration—it is rather thethought of a man profound-ly versed in the sculpture ofthe northern Gothic schoolseeking for greater truth of modeling and perhaps for a more perfect graceof composition than the porch sculptures of thenorthern cathedrals generally contained. Assuredly, it is not Italian of the Centre eitherin disposition or in the conception of each sep-arate one of the figures in the striving and pas-sionate group. Similar freedom o
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Keywords: ., bookcentury180, booksubjectart, booksubjectdecorationandornament
