carved frame, with flowers at the bottom and garlands of fruit spun all around it, and on the top there will be one of those pediment things, with a T-square in a cartouche. Certainly it is commercialand I'm proud of doing it. Art belongs to everything in life, and I am tired of hearing this nonsense about 'art for art alone.' For all that the sign was much talked of as an innovation in art, its painter had the best precedent behind him, and even so great a conservative as the late Mr. John La Farge complimented him on his achievement.

The great Watteau painted a sign for Gersaint, a picture dealer, and it now hangs, priceless, in the old Palace of Berlin, while a shoe dealer's sign by the same artist recently sold for $42,000. Several other 18th century French painters, such as Boilly and Chardin, did signs, as well, and Mr. Shinn, who has entered so wonderfully into the spirit of Watteau and Fragonard, has done this

architect's sign with the success which he has attained in his other revivals of this school of painting.

For all time this sign will be a peculiarly interesting document for architects and connoisseurs of painting alike. Its color, and the quaint naivete of its conception and execution make this signboard quite unique, in that it is a commercial undertaking carried out in a vein thoroughly artistic.

In the Greenwich Country Club, Walker and Gillette have carried out an essentially local rendering of an essentially American type of building, and the result is a successful expression of the problem. The design was selected from six competitive schemes, and while the exterior does not show any architectural affectations, the interior is designed to comprise many elaborate conveniences and country club facilities.

The first story is of local Greenwich stone, the roof a great gambrel evolved