Copyright, 1900, by A. Bogart. HINDOO LAWGIVER

THE LEGENDARY MANU. BY AUGUSTUS LUKEMAN.

MA

ADISON SQUARE, New York, bids fair to become a marked art center, for across from the Dewey Arch,-which, it is to be hoped, may be made permanent, -and a stone's throw from St. Gaudens' Farragut," and under the shadow of his "Diana," is the just completed Appellate Courthouse, one of the most attractive buildings in the city of New York.

It was built under conditions more favorable than usual for public buildings. There was no competition. The archi tect, James Brown Lord, was chosen by the judges because of his previous work; an appropriation of $700,000 was put through the legislature after Mr. Lord's plan had been approved by the judges. Even in the contracts, the city was not obliged to accept the lowest bid, but was free to decide upon the competency of the bidders.

Mr. Lord chose some twenty-five artists and sculptors whom he thought best fitted to execute given portions of the work, and to their sympathetic cooperation with him is due the harmoni

ous ensemble. In the courtroom one sees what is apparently the work of one man; we never dream that the work of six painters compose the decorations. So, too, in every part of the building all is unity; there are no hiatuses of monotonous blank spaces.

The architectural embellishments are, like the sculptures on the Dewey Arch, connected with recognized basal architectural forms. The major effect of Mr. Charles R. Lamb's design lay in his taking the Arch of Titus as a model for his framework, and seeing to it that our best sculptors adorned it; and Mr. Lord's success is due to his selection of a standard Corinthian model and choice of appropriate ornament. The façade of the building. is of New England marble.

When we stand below and look aloft at the statues, the sky seems by contrast to be equal to the intense lazuli of the Italian sky; and we picture to ourselves how delectable our city might be made if her sky lines were improved by the buildings shedding their pressed metal copings and replacing them with figures like these.

ANGLO-SAXON LAWGIVER ALFRED THE GREAT." BY J. S. HARTLEY.

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alone produce the triumph of law the prevalence of jus tice, the prevalence of peace, and finally the fruits of peace." Hence Wisdom" and 66 Force" are at the foundation of the Courthouse. (They are modeled by Mr. Ruckstuhl himself.) From these two columns lead the eye up to a tympanum containing an allegory of The Triumph of Law." (By Charles Niehaus.) This is crowned by a group of "Justice." On the east a similar group of Peace" is placed. The central group above, "Justice," by Daniel French, is worthy of the author of

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Peace" on the Dewey Arch, statue of Liberty at the World's Fair, "Washington" at the Paris Exposition, and Death Staying the Hand of the Sculptor' in Boston.

Of the eight statues on this front, that nearest the west corner is "* Mohammed," by Charles A. Lopez, author of the Dewey Arch group, "The East Indies." Moham

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med," in long Oriental robes, carries a scimiter. It is calm and reposeful: it may be viewed perfectly from every side, no disturbing line being visible from any point of view. Next comes "Zoroaster," by E. C. Potter.

"Alfred the Great" is by J. S. Hartley. He is dignified and picturesque in detail. Next comes 66 'Ly. curgus," by George E. Bissell. To the right of French's group is another Grecian figure

ENTRANCE FIGURE "FORCE."

BY H. W. RUCKSTUHL.

(The head is a composite of Grant, Miles, and Admiral Bunce.)

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and amber glass designed, with the side windows, by Maitland Armstrong. Facing the judges' dais are three large panels, and behind it a frieze by Kenyon Cox. North and south is a frieze by Joseph Lauber, typifying the attributes of righteous judgeship, Truth, "Perspicuity," etc., and at east are two long panels by George W. May. nard, representing the seals of the State and of the City of New York. Kenyon Cox represents, with great seriousness of purpose, Statute Law,' Plenty Rewarding Industry," and "Peace and Commerce," etc. A cademic draughtsmanship, careful distribution of

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Copyright, 1900, by A. Bogart,

MOSLEM LAWGIVER

"MOHAMMED." BY CHARLES A. LOPEZ.

MR. JAMES BROWN LORD.

support the cornice. Above them is the group of Peace." by Carl Bitter. To the left is

Confucius," by Philip Martiny. The right

arm and the embroidered sleeve that covers it are finely modeled. To the right of " Peace" is the figure of "Moses," by William Couper.

As we enter the building, we see opposite the doorway a narrow frieze painted in the Pompeiian manner, with flat tints of frank greens, yellows, and blues. It is The Laws of Nations," by H. Siddons Mowbray, and shows his inimitable draughtsmanship. By some peculiar chronology, it begins with Mosaic law; then Egyptian, Greek, Roman, law in the abstract; Byzantian, Norman, and common law; a winged female figure, carrying a scroll, connects the different periods. At first sight the decoration is stiff and flat, and the more animated groups of Robert Reid and of W. L. Metcalf seem of greater interest; though, in reality, they have the character of large easel paintings, while Mr. Mowbray's painting is essentially mural decoration. The figures of Justice" and Law," by C. Y. Turner, are opposite on the southern wall. The courtroom is lit by a round dome of white

NEW YORK APPELLATE COURT-HOUSE.

(Twenty-fifth Street façade.)

by Edwin H. Blashfield. It shows saliently his love of the Renaissance detail, and no familiar modernity of type disturbs its ideal sentiment.

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On the left, E. II. Simmons' Justice" stands with her arms round the shoulders of 66 Peace" and "Plenty." Plenty" holds fruit, and to her right are a laborer and his wife with a baby in her arms, and at her feet a child is playing with a rabbit, with its pink eyes particularly well painted, and a fox. In the brocade draperies of Peace" and " Plenty" Mr. Simmons has done his best painting; the color is of a russet tint, in perfect harmony with the marble of the walls. În Mr. Walker's central panel,

JEWISH LAWGIVER-"MO-
SES."
BY WILLIAM
COUPER.

ENTRANCE FIGURE "WISDOM." BY H. W. RUCKSTUHL.

hall are embossed gold, in perfect keeping with the dark saffron Siena marble, of which all the walls are constructed. Though the sumptuousness of the gold decoration perhaps pleases the average

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visitor most, it is a less intellectual kind of ornament than the paintings. Now our painters have only arrived at success in giving intellectual pleasure through their study of nature. they been content to mechanically repeat stock forms of their predecessors, no matter how beautiful their color, their work would be tame in comparison with the present result. And it is to he hoped that subsequent American architects may approach an American form of architecture -retaining, perhaps, the proportions of the classical, but adding American motives in detail and ornament and enrich the interiors, not with the classical egg and dart and acanthus, but with apple and pine and oak motives modeled by American artist-artisans from nature, so that every detail may bear the ear marks of a temperament."

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It has been remarked that Mr. Lord is not, like most of his contemporaries, a Parisian-trained architect. A Princeton graduate, he received his architectural training in New York; but it must

be recorded that he has made use of foreign travel-going, when the Court-house was under consideration, to inspect French municipal buildings, and reconsidering his design in consequence.

In the details of the interior, Mr. Lord has with great acuteness given us a full measure of ornament, without letting the ornamentation encroach upon utility. The elevator does not seem like a packing-box in a parlor, but harmonizes with the rectilineal features of the hall that are accented by the use of pilastered piers.

In the list of examples of imposing archiitecture that have been erected in New York in recent years, the Columbia College Library, by McKim, Mead, and White; St. Luke's Hospital, by Ernest Flagg; Manhattan Hotel, by J. H. Hardenberg, and the new wing of the Metropolitan Museum, by Richard M. and R. H. Hunt, belongs the Appellate Court-house, by this young architect, who promises to become the American Palladio.

MR. CHARLES H. HACKLEY.

WHE

HERE, fifty years ago, in the dense pine forests of western Michigan, there was a pioneer village of a few hundred people; where, twenty years ago, was a bustling lumbering town, with forty-five sawmills, a population of 11,000, and, for a few brief years, the fame of cutting 700,000,000 feet of lumber annually, making it the largest primary lumber market in the world, stands to-day, on a bay at the mouth of the Muskegon River, the city of Muskegon, with a fine harbor and a population of 25,000. In most respects, it differs little from many other lake and lumber towns.

Since the decadence of the lumber industry, it has been built up by general manufacturing and trade. During the earlier days many fortunes were made here, and taken away by their possessors to other and larger cities to be invested and enjoyed. A few, however, of the older generation have remained and help make the new Muskegon. Foremost of these is Charles H. Hackley, whose gifts to the city give Muskegon its unique character.

Mr. Hackley came to this place in 1856, at the age of 19 years, and began to work in a sawmill as a day-laborer. His energy, integrity,