House and Garden 
ORNAMENT EXECUTED BY THE 
ATLANTIC TERRA-COTTA CO. 
FOR THE THIRD AVENUE AND 
THE WORTH STREET STATIONS 
suffice for the dullest-witted rider. An 
Italian Renaissance frieze, executed in faience, 
connects the panels bearing the galleys, and 
over all is a heavily projecting cornice, giving 
a satisfactory finish to the treatment of the 
wall. The success of the work here is com¬ 
pleted by a broad use of mosaic, which is 
laid in plain wide bands entirely in harmony 
with the adjacent architectural members. 
At Cathedral Parkway, which is the station 
for One Hundred-and-Tenth Street, the 
frieze panels are in the form of cartouches 
displaying within their curved outlines a 
spray of tulips on either side of the figures, 
while the name-panel is of mosaic, large in 
size and fairly well arranged, the designs at¬ 
tempted with the minute material being lim¬ 
ited in color to buff and gray. Identical 
with the terra-cotta parts of this station are 
the admirable friezes and cartouches exe¬ 
cuted by the Atlantic Terra-Cotta Company 
for the Worth Street and the Third Avenue 
Stations, the only exceptions being the figures 
within the cartouches denoting the respective 
thoroughfares. 
The Grueby work at One Hundred-and- 
Sixteenth Street is far enough advanced to 
show an arrangement of highly ornamental 
panels introduced into the frieze. This sta¬ 
tion is clearly identified with Columbia Uni¬ 
versity by the seal of that institution being 
used in the panels of the station walls alter¬ 
nating with corresponding panels which 
contain the figures 116. One Hundred-and- 
Forty-Fifth Street Station has one of the 
best figure panels to be seen on the whole 
road, the design being of large and sym¬ 
metrical parts displayed by a well studied 
relief. 
The Subway ornamentation as a whole 
differs greatly from that of any other urban 
line of transit now existing, and this difference 
is one of fancy and variety. The imagina¬ 
tion plays its part on the New York road as 
it does nowhere else; and yet the builders 
and the architects have not forgotten the 
hordes of riders who are totally without that 
possession,—the fancied “purblind idiots” 
representing, as they laughingly say, an ideal 
of ignorance to which the size and frequency 
of the station signs and figures have been ad¬ 
justed. Whether in the end public observa¬ 
tion will be keen enough to note the subtle 
differences of color and form; whether Fancy’s 
play may be compatible with 
the necessary conspicuousness 
which the station signs must 
have, the future experience of 
riders and the managers of the 
line can alone decide. If the 
answer be negative, it should 
not be another victory for the 
utilitarian signs of white on 
blue which are effective to the 
point of commonplaceness, 
notably in the underground 
roads of London and Paris. 
The substitution at a few 
places in the Subway of white 
on blue name-panels of mosaic 
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