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This advance is chiefly due to the fact that American architects are beginning to perceive 2 two things that their French colleagues, among all the modern vagaries of taste, have never quite lost sight of: first that architecture and decoration, having wandered since 1800 in a labyrinth of dubious eclecticism, can be set right only by a close study of the best models; and secondly that, given the requirements of modern life, these models are chiefly to be found in buildings erected in Italy after the beginning of the sixteenth century, and in other European countries after the full assimilation of the Italian influence. ...Thus it was that many needs arose: the tall keep of masonry 3 where the inmates, pent up against attack, awaited the signal of the watchman who, from his platform or échauguette, gave warning of assault; the ponderous doors, oak-ribbed and metal-studded, with doorways often narrowed to prevent entrance of two abreast, and so low that the incomer had to bend his head; the windows that were mere openings or slits, narrow and high, far out of the assailants' reach, and piercing the walls without regard to symmetry-not, as Ruskin would have us believe, because irregularity was thought artistic, but because the mediæval architect, trained to the uses of necessity, knew that he must design openings that should afford no passage to the besiegers' arrows, no clue to what was going on inside the keep. ...Certainly, if an architect were to propose to his client to decorate a room in a moderate-sized house in the Louis XIV style, and if the client had formed his idea of that style from the state apartments in the palace at Versailles, he would be justified in rejecting the proposed treatment as absolutely unsuitable to modern private life; whereas the architect who had gone somewhat more deeply into the subject might have singled out the style as eminently suitable, having in mind one of the simple panelled rooms, with tall 15 windows, a dignified fireplace, large tables and comfortable arm-chairs, which were to be found in the private houses of the same period (see Plate V).

About Ogden Codman Jr. Ogden Codman Jr., the Author:

Funston, writing on Edith Wharton in American National Biography, 'What is most notable about A Backward Glance, however, is what it does not tell: her criticism of Lucretia Jones her mother, her difficulties with Teddy, and her affair with Morton Fullerton, which did not come to light until her papers, deposited in Yale's Beinecke Rare Book Room and Manuscript Library, were opened in 1968.' ...The Touchstone (1900) The Valley of Decision (1902) Sanctuary (1903) The House of Mirth (1905) Madame de Treymes (1907) The Fruit of the Tree (1907) Ethan Frome (1911) The Reef (1912) The Custom of the Country (1913) Summer (1917) The Marne (1918) The Age of Innocence (1920) The Glimpses of the Moon (1922) A Son at the Front (1923) Old New York (1924) The Mother's Recompense (1925) Twilight Sleep (1927) The Children (1928) Hudson River Bracketed (1929) The Gods Arrive (1932) The Buccaneers (1938) Fast and Loose (1938)