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 that this is simply libellous. It is true, I do not quote him fairly; I omit his laudatory antitheses. The truncated phrase in the above passage reads in the original "more hideous or more splendid," and after averring that "nothing is given to beauty," Mr. Steevens immediately proceeds to celebrate the beauty of many New York buildings. Are we to understand, then, that the architects thought of nothing but "hard utility," and that it was some aesthetic divinity that shaped their blocks, rough-hew them how they might? For my part, I cannot see how truth is to result from the clash of contradictory falsehoods. There are a few cities more splendid than New York; many more hideous. In point of concentrated architectural magnificence, there is nothing in New York to compare with the Vienna Ringstrasse, from the Opera House to the Votive Church. In the splendour which proceeds from ordered uniformity and spaciousness, Paris is, of course, incomparable; while a Scotchman may perhaps be excused for holding that, as regards splendour of situation, Edinburgh is hard to beat. Nor is there any single prospect in New York so impressive as the panorama of London from Waterloo Bridge, when it happens to be visible—that imperial sweep of river frontage from the Houses of Parliament to the Tower. Except in the new region, far up the Hudson, New York shares with Dublin the disadvantage of turning her meaner aspects to her river fronts, though the majesty of