The Architectural League Exhibition 
neither view, nor space for pools and hedges. 
It is but a passage to the street from the 
house, with a bit of ground on each side; 
the one has been emphasized by its paving 
and fountain, the other made a setting for 
the first by shrubs and flowers. There was 
room for no more, and no more was needed 
to change a thing of bare use to a thing of 
both use and beauty. 
The parts of the exhibition taken up by 
the arts allied to architecture are the most 
interesting to the general public. The sculp¬ 
ture consists principally of models for statu¬ 
ary for the Louisiana Purchase Exposition. 
The decorative painting, which occupies a 
third of the whole space, is of a higher aver¬ 
age than the annual exhibitions of painting 
pure and simple. Much of it is “decorative” 
only as any easel picture, painted to be sold 
to no matter whom and living no matter 
w here, is decorative. There is, for instance, 
“ La Confidence” by Jean Amand. It is a 
good picture and 
would deserve, 
in any picture 
exhibition, the 
p r o m i n e n c e 
given it in this; 
but its architec¬ 
tural setting is 
rather adapted to 
it than it to its 
setting. The 
distinction, es¬ 
pecially as the 
result is admir¬ 
able, may seem 
too finely drawn, 
but the impor¬ 
tance of making 
it can be clearly 
seen by taking 
examples from 
the designs for 
windows, of 
which there are 
many. The car¬ 
toon by Robert 
Reid, of which 
we reproduce 
but one panel, 
is for a window 
divided into five 
parts by four 
heavy mullions. 
In the central 
panel is the Vir- 
g i n and the 
Child; in each 
of the two panels 
that flank it is a 
group of two 
magi; in each of 
the outermost 
1 5° 
