Minnesota State Capitol number . s, andthat the study of at least theelements of the other shouldhave place in our art that either school should becomje hybrid incharacter, nor the student be embarassed by a multiplicitv of ideas; on the contrary architecture is pictoralin no small degree, questions of color are constantlybrought before the architect, frequently to his distressTwhile the lack of the simplest notions of architecturaltradition on the part of the painter or illustrater whoessays mural nainting, is unhappily apparent,jpn morethan one wall of our recently decorated buil
Minnesota State Capitol number . s, andthat the study of at least theelements of the other shouldhave place in our art that either school should becomje hybrid incharacter, nor the student be embarassed by a multiplicitv of ideas; on the contrary architecture is pictoralin no small degree, questions of color are constantlybrought before the architect, frequently to his distressTwhile the lack of the simplest notions of architecturaltradition on the part of the painter or illustrater whoessays mural nainting, is unhappily apparent,jpn morethan one wall of our recently decorated buildings. The architectural student should gain at least aknowledge oi the harmonious association of colors andtextures; the student of painting know at least theorders and the traditional use of architectural finer distinctions of tone and value sought by thepainter of pictures may demand not only a rarer talent,but a more intense study and observance than the arch-itectural student may command, and the student at the. OLD STATE CAPITOL. art school may find the T-square and triangle less tohis liking than the brush; but without trespassing uponthe special work of either, both acquire such el-emental knowledge of that which is essential in botharts, which would add greatly to the appreciation ofall the arts that are fine. It recently befel that in aclass of forty young men, in an American school of architecture, that only six knew even the names of theprimary and secondary colors; and with this fact inmind, it is hardly to be wondered at that the associationof brick and stone, of various colors, is so frequentlya source of artistic anguish, in our parti-colored build-ings. In the case of the mural pointer, he too often
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