no section of the country offers greater promise of achievement than the South, for here has ever been the artistic spirit and impulse, and here are to be found the richest inheritances of those influences. and qualities which are necessary for the proper development of native ability and genius, for the exercise of creative power and intuition; and to the spirit of idealism which is peculiarly a possession of her sons and daughters, to their quick response and appreciation, their temperamental subtleties and sympathies, their spiritual insight and emotional abandon will the country yet look, perhaps, for its best interpretations of the true art spirit, the highest expression of which is the soul of the artist in the work of his hands.

BIBLIOGRAPHY.-Bosher, Kate Langley: A Sculptor of the South (Outlook Vol. LXXXIII., p. 961); Dabney, Edith: Famous Colonial Estates; Elwell, Frank Edwin: American Art; Garland, Hamlin; Edward Kemeys (McClure's, Vol. V., p. 120); Ladsgast, Richard; Enid Yandell the Sculptor (Outlook Vol. LXX., p. 81); Taft, Lorado: The History of American Sculpture; Tyler, Lyon G.: Williamsburg. KATE LANGLEY BOSHER,

Richmond, Va.

CHAPTER III.

ARCHITECTURE IN THE SOUTH.

General Character of Architecture in the South.

HE architecture of the older South was simply a continuation of standard forms of European architecture modified to suit conditions in a new country. The architecture of colonial times, particularly of the Eighteenth century, and of the national period up to the War

of Secession has a certain historic and romantic interest. Since about the middle of the Nineteenth century, however, there has been a steady tendency towards architectural uniformity throughout the United States, the outcome, in part, of rapid commercial development with the consequent disappearance in the South of the highly individualized plantation life. Indeed, the one strictly original American contribution to architecture is the "skyscraper, or steel-frame office-building, typical of industrial preeminence and urban triumph in our national life. The average modern city house has, because of space limitation, little or no architectural character, and it is left to the church or public building to preserve the older traditional forms. The present sketch will therefore confine itself to a consideration of the architecture of the colonial and ante-bellum South.

Speaking broadly, we find in the South three prevailing types of architecture-the English, the French, and the Spanish, introduced by the colonists from those nationalities in the Sixteenth, Seventeenth, and Eighteenth centuries. The English architecture, or "Anglo-classic," mainly the "Queen Anne" and the "Georgian," with perhaps a few scattering examples of the "Elizabethan and Jacobean," is found in Virginia, Maryland, the Carolinas, Georgia and the states contiguous to them; while traces of the French appear in Louisiana (chiefly in New Orleans) and adjacent territory, and of the Spanish in Florida, Louisiana, Texas and the Southwest. It is, of course, impossible to locate definitely these three types, for all modern architecture is more or less composite, and, besides, the racial blendings of population caused several styles of architecture to exist side by side. In general, when we speak of Southern architecture we mean

the architecture of the English colonial type, and it is accordingly proper to consider the English first.

For the purposes of this outline it will be sufficient to characterize briefly three classes of buildings: (1) Domestic or living houses; (2) Public buildings, including educational institutions; and (3) Churches. Before treating these classes specifically, however, we need to bear in mind a few fundamental facts of an inclusive nature as to the prototypes of the several forms of Southern architecture. English, French and Spanish architecture had each its "renaissance"; that is, a revival of classic character after passing through such stages of variation from the original classic as the Romanesque and the Gothic. The types perpetuated in the New World are therefore modifications of the several renaissance forms of western Europe. The colonists from the several European countries simply tried to adapt these more or less modified classic types of their old-world homes to the pioneer surroundings of the new world. The English colonists reproduced a more severely classic form than the French and Spanish, for the latter had through an admixture of semi-oriental elements reached a more varied character.

This striking difference must, however, be noted, that while the prototypes of the buildings erected by the colonists in the wilds of America had their expression in brick and stone, the colonists had to express their architectural ideas in wood, or frequently at best in a combination of wood and brick, because the great forests at their doors furnished their main building material. Details worked out in stone in the older country must be realized in wood in the new. Perhaps the chief interest in our earliest type of building arises from the rare skill with which the builder carried out the delicate details

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in his wood-carving and in his refined ornamentation of rough, perishable material. Indeed, there is often a subtle line of distinction traceable in this earlier work which has not since been reproduced. Local necessity or convenience frequently caused, too, a variation in dimensions from the conventional in certain details of the classic "orders." For instance, the regulation height of the Corinthian column is ten times the diameter of its base, of the Ionic nine times, of the Doric and Tuscan six. In most colonial work the columns are considerably longer, some of them as much as fifteen times the base diameter, having thus an attenuated appearance. The foliated capitals and the cornices have likewise been modified. The effect is less virile than in classic architecture proper. From these preliminary statements as to the general character of the Southern classic architecture we may pass to a brief description of the typical colonial mansion as it stands to-day.

Domestic Architecture of English Origin.

The favorite form of house on the large Southern plantation in the Eighteenth century was architecturally similar to the type of English country houses known as "Queen Anne" or "Georgian." It was usually square or oblong, containing two stories, and sometimes small roof-rooms with dormer windows, above a basement in which were kitchen and storerooms and in many houses the family dining-room. On the first floor there was a large hall in the centre, with spacious rooms on either side used as drawingrooms, library, living room, and dining-room. Bedrooms were on the second floor and there were sometimes small guest rooms above, under the roof. In shallow, oblong houses the stairway rose from the side of the main hall, but in deeper, square houses often from the rear of the spacious hallway. The

interior walls were wainscoted with heavy paneling, mantels were high and often elaborately carved, windows were several feet above the floor, with rather small panes and heavy facings. Doors were heavy and paneled, and in the larger mansions front doors had elaborate fan-work arches above. There was often a side-porch, as well as a front and back porch, the side-porch serving as entrance to a back hall. Chimneys were sometimes concealed in the walls, but in frame houses usually exposed. Oblong houses had the gable roof, and square houses the hip-roof. Most Southern colonial mansions had conspicuous front porches with tall classic columns more commonly of the Ionic, Doric or Tuscan order. Herein the Southern mansion differed most strikingly from the New England colonial house, the latter, as a rule, having no extensive columned portico. From the central mansion wings were sometimes built apart from but connecting with the main house by covered passageways, as, for instance, at Lower Brandon, on the James River, in Virginia. Back of the mansion at a short distance in the yard one often finds the kitchen, usually of brick, besides the "smoke-house" and other smaller buildings necessary for the conduct of an extensive plantation community. The negro quarters, a group of square or oblong cabins built of brick, or more commonly of logs and "chinked," were distant several hundred yards from the mansion. Such a grouping of mansion and outhouses may still be seen at Washington's house on the Potomac, Mount Vernon.

Perhaps the most famous colonial homesteads of the older English type are those still standing along the James River between Richmond and Hampton Roads, such as Lower Brandon, home of the Harrisons; Westover, of the Byrd family; and Shirley, of the Carters. Lower Brandon and the later Upper