. The story of architecture: an outline of the styles in all countries. ion appealed to the romanti-cism which still hovered over the grave of the Gothicrevival. Richardson began his Romanesque revivalin Trinity Church, Boston, a building which is heldby many to be his masterpiece. Here may be seen all the qualities enumeratedabove, but in their simplest and most unostentatiousform. True, the central climax is frankly reminiscentof the middle tower of Salamanca Cathedral, but thesobriety and dignity of treatment therein gives it allthe rights of individuality. The only fault in the whole build
. The story of architecture: an outline of the styles in all countries. ion appealed to the romanti-cism which still hovered over the grave of the Gothicrevival. Richardson began his Romanesque revivalin Trinity Church, Boston, a building which is heldby many to be his masterpiece. Here may be seen all the qualities enumeratedabove, but in their simplest and most unostentatiousform. True, the central climax is frankly reminiscentof the middle tower of Salamanca Cathedral, but thesobriety and dignity of treatment therein gives it allthe rights of individuality. The only fault in the whole building from ahypercritical point of view is the deficiencv of baseand the use of an ungroupable corner tower. In-ternally here, as well as elsewhere, it was Richard-sons ambition (according to Prof. Kerr) to put thework into strong naked health and honesty ratherthan into any dainty and attenuated attire. RICHARDSONS WORK. 447 Other Richardsonian masterpieces are the WinnMemorial Library, a design of much playfulness andimagination ; the Pittsburg jail, with its awesome. Fig. 171.—Jail at Pittsburg, Pennsylvania. grandeur (Fig. 171); Mr. Glessners picturesque pal-ace at Chicago; the Law School at Harvard ; HubertHerkomers house in England ; and a large number 448 AMERICAN ARCHITECTURE. of small libraries, having windows set jewellike in amatrix of rock or rock-cut stone, producing an effectof genuine originality. Breadth, unity, and simplicity were Richardsonsstrongest characteristics, but unfortunately his pupilsnever outstripped their master in his line or carriedon his work of evolution. Hence, though Richard-sons influence is still felt in almost every large cityof the United States, he died in 1886 a unique andisolated figure—a man who preferred principles toconventions, and who by this preference very nearlyproduced what might be termed an original style,and in any case one of great charm, vigour, andmasculinity. Another personality that has stamped itselfstrongly on Ame
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