House <y Garden 
in relation to the bridge as a whole ; and 
their value can be appreciated by imagining 
the towers bluntly terminated at the point 
where the cables pass over them. The hnials 
are, indeed, constructed ornament upon a 
large scale, but constructed ornament in such 
a case is thoroughly justified. The cables, 
passing over the enormous struts of latticed 
steel-work and structurally independent of 
any decoration above, virtually divide the two 
commodious space tor a public observatory, 
— should it be decided to provide an easy 
means of reaching it,—or at least the space 
can be used tor a lookout, suggesting the 
ancient and modern need of surveillance of 
the city in watch for fires. 
The introduction ot the Tudor arch at 
the top ot the space between the towers is 
another good suggestion made by the archi¬ 
tects, and undoubtedly gives a finish to a 
THE SUPERSTRUCTURE OF THE BRIDGE 
Showing the Public Comfort Station , Overhead Bronze Tablet and the Tool-House 
principles of utility and beauty. The illus¬ 
tration, on page 141, shows an early design 
for the pinnacles which has been approved 
by the Art Commission • but the large 
drawing on the page opposite here is a later 
study in which the ornamental forms are 
appropriately shaped to conform to the bear¬ 
ing of the cables. Steel and probably cast 
iron will be the materials used for the pinna¬ 
cles, and under a large superstructure will be 
series ot otherwise ungainly spaces made by 
the criss-cross bracing. 
The outer lines ot the towers, when seen 
in perspective, present an ugly angle just at 
the level ot the lower deck of the bridge. To 
conceal this break, the architects have empha¬ 
sized it: a paradox with happy results, to which 
a glance at the sections on page 144 will testify. 
And happier yet would be the composition if 
the balconies obtained by carrying the foot- 
143 
