The Pittsburgh Architectural Club Exhibition, 1905 
harmonizes wi th the 
modern French Renais¬ 
sance, which has found 
an abiding place in New 
York; thanks to the pro¬ 
paganda made by the 
American students and 
architects, who received 
their education in Paris 
and at the Ecole de 
Beaux Arts. 
Perhaps the best ex¬ 
ample of the French 
Renaissance and the 
French method of train¬ 
ing was shown in the 
first prize design of the 
Roche traveling scholar¬ 
ship competition, by 
William D. Crowell. 
His design is unusually 
graceful in the propor¬ 
tions of its parts, with¬ 
out detracting from the 
solidity or dignity of the 
edifice. The French 
method stands here ap¬ 
proved by the logical 
solution of the problem 
and the expression of the 
plan in the elevation. 
The Pittsburgh Archi¬ 
tectural Club has been 
very fortunate in having 
in the editor of its cata¬ 
logue, Edward B. Fee, 
who was the winner of 
a traveling scholarship 
some years ago. His 
Envoi sketches and 
drawings formed one of 
the most interesting fea¬ 
tures of the exhibition. 
Birch Burdette Fong 
exhibited, through the 
Century Company, a most remarkable set of 
illustrations of Fondon buildings and Fondon 
scenes, any of which would do credit to such 
illustrators as Jules Gueron, Castaigne, and 
others. Mr. Fong seems to be at home in 
any medium of rendering, and while doing 
justice to the architecture he portrays, he 
never loses sight of the purely artistic— 
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PENCIL SKETCH OF PULPIT-CATHEDRAL COIMBRE 
E. N. Jenney 
that is, the illustrator’s own point of view. 
Mr. Van Holst also had a number of very 
sparkling and clever Italian sketches which 
justify a closer inspection than other foreign 
sketches exhibited by other draughtsmen. 
Charles Schneider, of Cleveland, exhibited 
a number of interesting foreign sketches, those 
of Mont St. Michel being perhaps the most 
87 
