Minnesota State Capitol numero . HISTORVBy Daniel Chester French. Copyright by D. C. francese. La carità.Da Daniel Chester French. Copyright 1905 da D. C. Francese di pietra grigia, ma non è così eseguito. Il architecthas desiderata un effedt di sontuosità e subduedsplendor, ed è diventato un colorista come pure adraftsman. La sua distinzione è che egli ha neverallowed ricchezza a degenerare in gaudiness o beautyof m3.terial. camuffare la bellezza del design. Se egli hashandled colore come un pittore, egli ha fatto così come uno dei vecchi pittori, il cui lavoro, anche se si possono perdere muchby traduzione in blac

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Minnesota State Capitol number . HISTORVBy Daniel Chester French. Copyright by D. C. French. CHARITY.By Daniel Chester French. Copyrighted 1905 by D. C. French gray stone, but it is not so executed. The architecthas desired an effedt of sumptuousness and subduedsplendor, and has become a colorist as well as adraughtsman. His distinction is that he has neverallowed richness to degenerate into gaudiness or beautyof m3.terial to. disguise beauty of design. If he hashandled color like a painter, he has done so like one ofthe old painters, whose work, though it may lose muchby translation into black and white, yet retains its es-sential quality in a wood-cut. Of the color-scheme as a whole, the dominant noteis the full, warm tone of a yellow limestone, a Minne-sota product, with which the piers and arches andwalls are faced, not in thin veneerings but in solidblocks of masonry. It takes a beautiful but not too 30 THE WESTERN ARCHITECT. TRUTHBy Daniel Chester French. Copyright 1905 by D. C. French. brilliant polish, and its color and texture are delightfulto the eye. It is most appropriate that it should beso used in the Capitol of the State which produces it, and most fortunate that so admirable a material shouldhave been at hand. Its warmth is contrasted with thegrays and violets of granites and marbles, enrichedwith the sparing use of gold on capitals and galleries, and the result is a triumfphant chord of color, delicate, yet so powerful as to make the problem of supplement-ing it a difficult one for the painter. The general effect of the interior upon any one whoenters the building is, of course, determined by the ro-tunda and the staircase wells, which are so connectedas to form one great composition, and by the corridors and subsidiary staircases. The separate rooms, how-ever important or beautiful in themselves, are yetseparate rooms, each with its own composition and itsown scheme or ornament, and while thev re

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• bookcentury1900
• bookdecade1900
• bookidcu31924015361375
• booksubj