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 profession as to those who were willing to "make a night of it." And it was from these "all nighters" that Mr. White drew the material for the "studio parties" that at one time brought notoriety to the Madison Square Garden tower.

In the field of decoration, White had established a place for himself unlike that of any architect. He was accustomed to make trips to Europe to secure collections of various kinds. He would get materials for a Francis I. room or a Louis XVI. room, bring them home, and store them to be sold later to some rich man who was looking for fads in household decorations. Sometimes he would collect windows and doors. At other times he would scour France and Italy for hangings and draperies.

After the tragedy there was great diversity of opinion in the architectural world as to White's standing as an architect. Some of the architects did not hesitate to say that he was the greatest in the profession in his country since H. H. Richardson. Others asserted that he shone largely by the reflected light of his partners, McKim and Mead. It is certain that no architect was called upon oftener to serve on juries to pass upon the merits of designs for the great buildings of the country than White.

Those who decried his abilities said that much of the work ascribed to White was really the work of McKim or Mead. Their tastes ran to the severely classic designs and to what is known as the field of