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 other day proved that equal or even greater care and attention is being bestowed upon the country house, in which a characteristically American style is being developed, mainly founded, I take it, upon the suave and graceful classicism of Colonial architecture. The wide "piazza" is its most noteworthy feature, and the opportunity it offers for beautiful cloister-work is being utilised to the full. Furthermore, the large attendance at the exhibition showed what a keen interest the public takes in the art—a symptom of high vitality.

In Philadelphia, too, where I spent some time last week, there is a good deal of exquisite architecture to be seen. The old Philadelphia dwelling house, "simplex munditiis," with its plain red-brick front and white marble steps, has a peculiar charm for me; but it, of course, is not a product of the present movement. I do not know the date of some lovely white marble palazzetti scattered about the Rittenhouse Square region; but the Art Club on Broad Street, and the Houston Club for Students of the University of Pennsylvania, are both quite recent buildings, and both very beautiful. I could mention several other buildings that are, as they say here, "pretty good" (a phrase of high commendation); but I had better get safely out of New York before I enlarge on the merits of Philadelphia. There is only one city the New Yorker despises more than Philadelphia, and that is Brooklyn. The New York schoolboy speaks of Philadelphia as "the place the