THE CITY'S LIFE - 1075 sented in the city parks by a statue of Wagner and one of Mayor Tom L. Johnson, the latter in the Public Square. Statues of Moses and Pope Gregory IX are his contribution to the series of lawgivers adorning the north facade of the courthouse. Others are Justinian and Alfred the Great by Isadore Konti. On the south facade are Edward I and John Hampden, by Daniel French; Stephen Langton and Simon de Montfort by Herbert Adams; John Somers and Lord Mansfield by Karl Bitter. Jefferson and Hamilton, by Bitter, and John Marshall and Rufus P. Ranney, by Herbert Adams, adorn the south pediment. Karl Bitter is also represented by allegorical sculptures, "Land" and "Water," on the pediment of the main building of the Cleveland Trust Company. A statute by James Earle Frazer on the grave of John Hay, typifying strength, reserve and executive ability, is a recent addition to the memorial sculpture in Lake View Cemetery. Two figures, man and woman, embodying the forces of the physical and spiritual worlds and poised on crouching figures of Ignorance and Prejudice, hold 'lighted torches of knowledge in the group by Robert Aitken which adorns the service building at Nela Park, the East Cleveland home of the General Electric Company. St. Gaudens' statue of Mark Hanna sits at University Circle. An older statue of Moses Cleaveland, founder of the city, and a still earlier one of Oliver Hazard Perry, now removed to Gorden Park, are among the city's nineteenth century sculptures. A group showing Harvey Rice, early Ohio educator, with children at his knees, a Schiller and Goethe group, and statues of Kosciuszko, Kossuth, and other war heroes, are in or near Wade Park. By the cooperation of the Cleveland Society of Artists, Cleveland Art Student's league, Woman's Art Club, Kokoon Art Klub and Cleveland Print Makers, the first curb market, held July twentieth, 1932, at the Elysium Skating rink, proved such a success that it will no doubt be repeated. Thousands attended the sale, the net proceeds of which reached $12,000. 1076 - THIS CLEVELAND OF OURS The Mary Warner art fund, established in 1885, enables the city to buy works of art from the May exhibition each year. These are in the custody of the museum and may be displayed there until Cleveland shall possess a municipal gallery in which to house them. EDITOR'S NOTE : Here ends the section by Miss Jessie C. Glasier. * * * * * * It is inevitable that in a chapter, parts of which are written by two people, omissions should occur intended by neither. One of these is the story of Cleveland's famous Art Loan Exhibition held in 1893. Let us quote from Carl Lorenz once more, writing this time in the Ohio Architect for June, 1908, on Art Life in Cleveland : "Speaking of exhibitions reminds one of the great Art Loan Exhibition in 1893 in the Garfield Building. The times were bad then, and the rich people of Cleveland felt it their duty to do something for the alleviation of the general suffering. Someone proposed an art exhibit, one worthy of the name. The possessors of paintings all over the land were appealed to. The response was generous, and in a short time several hundreds of worthy paintings could be hung. The success of the enterprise was gratifying in the extreme. A large sum was realized and turned over to the poor funds. Professor Charles Olney, Mr. Charles F. Brush and Mr. W. J. White, all of Cleveland, and all possessors of fine paintings, had most willingly robbed their walls of their treasures in order to insure the success of the exhibition." This writer remembers only too well that her English class were required by the teacher, Miss Margaret Hanna of Central high school, to write compositions describing pictures seen at this exhibition. It was a great social as well as artistic and educational affair. Everybody went. Mr. Lorenz again : "Since then we have seen some things of great artistic value, but at very rare occasions. At times there were on exhibition at the Olney Art Gallery, Michael Munkacsy's `Christ Before Pilate,' and 'The Last Moments of Mozart,' THE CITY'S LIFE - 1077 both paintings of world fame. Gerome's `Cruicifixion' and 'The King of the Desert' were also in this gallery." The Olney Gallery on Jennings Avenue (now West Fourteenth Street) was one containing many things of rare value and some of lesser merit. At Mr. Olney's death its collection was willed to Oberlin College. Another point of interest is the story of Selzer's store. In 1881 young C. A. Selzer bought a few chandeliers and other fixtures when the Marchand Gas Fixture Company sold out. He started with them a store at 224 Euclid Avenue, between Chandler and Rudd's and the May Company. The store, with its two floor levels, was later occupied by the George Bowman Company. "Selzer's" was soon filled with beautiful china, porcelains, cloisonne and all the various objects which go under the name of decorative arts. It had a fountain, right in the store where the lower level began. This was long before the build-ing of the Museum, long before anyone thought of such a thing as the present liaison between art and school by means of which hardly a child can now escape knowing something of the joys of art. Wherefore one of a child's compensations for being obliged to go shopping. with Mother was the chance to look into Selzer's window and perhaps, if one had been very good, to walk through the mysterious aisles with their tables of fabulous and alluring objects—not touching anything, of course, but looking, looking—to the foundation of real water which played incessantly, to a child's delight. There was a bronze crane. And was there not a porcelain frog? Sometimes people bought things there—notably visitors from other cities, who were always taken through Selzer's as part of the routine of seeing Cleveland's places of attrac-tion—and no one who bought anything there was ever sorry. Because it was always beautiful, and thoroughly good. But never was any sales pressure used. The store existed for the pleasure and satisfaction of the city as of its owner. Thirty-five times before his death in 1931 he went to Europe to gather there more lovely things. The store moved after some years to the Hickox Building 1078 - THIS CLEVELAND OF OURS at the corner of Euclid Avenue and East Ninth Street, where its corner windows again offered education in art to everyone who passed. (There really ought to be a tribute to the educational and artistic value of well planned and executed store windows. This writer was led into an investigation of Thomas Sheraton, the "poet in wood" from a look into Vincent-Bartsow's one day—when it was down on Euclid near Selzer's—and from there into a winter's reading on allied subjects. Case Library was handy then, too, in the Caxton Building). Selzer's last period was in the Bulkley Building. After the death of its owner, its stock, says a newspaper report, "was dispersed slowly and with dignity. The dispersal has been so quiet that it hardly seems correct to call it a sale. It has been under the direction of Orley A. Payne, who was with Selzer's for sixteen years while the store was in the Hickox Building." In the last few days, as this chapter is being written, the remaining stock has been sold at auction, and so closes a half-century of art service to the city. Another matter of which each of the writers expected the other to take cognizance is the importance of the three great teachers of the past generation at the School of Art, Gottwald, Keller and Matzen. There have been many teachers of high value at the School and working individually in the city, but the services of these three men have brought, without any question, Cleveland's art to its present advanced plane. Gottwald taught for forty-one years, Matzen for forty. Keller is a little younger. Gottwald's very fine work in figure and landscape painting has been mentioned earlier in this chapter. Keller is a very versatile artist—his work covers many countries and many fields. He is an etcher and watercolorist as well as a designer and painter in oils. His painting of animals in his Spanish landscapes is worthy great praise. Some of his painting leans to the purely decorative. He, like Gottwald, has an immense following among students of all ages. Gottwald went, on his retirement, to live in California. When one comes to Matzen, one finds a giant. The historical student is apt to start his work in a given THE CITY'S LIFE - 1081 direction with predilections. He has heard certain names and has an idea that all these men or families or businesses or what not who were concerned in a given movement or period are about on a level. As the subject opens up, he gets a new sense of values about them. Some are hardly more than names. Some have done good work but in no sense important. Some, on the other hand, are like gold mines. No matter what the avenue of approach, the pure shining metal sooner or later turns up. Such a man is Herman Nicolai Matzen, born in LoitKjerkeby, Denmark, July 15, 1861. He studied at the Munich and Berlin Academies of Fine Arts before settling in Cleveland. The student who questions other artists and critics, people who have looked at his statues, people who have lived In his own city or in others where his statues are to be seen, comes to believe, at last, that here is the central figure in Cleveland's art. What about this young sculptor now in the public eye for sound and arresting work? A pupil of Matzen's, who would be first to give credit where it is due. What about that painter now gaining the highest recognition? He studied anatomical drawing with Matzen. And so it goes. "Matzen was like a father to me," says the painter once young, now middle-aged and teaching. "I never met Mr. Matzen, but my cousin studied with him, and all I know about real beauty I learned from the things she used to tell about his classes." And so it goes. Norman Bel Geddes, the famous designer of stage settings, Frank Wilcox, Max Kalish—the list of artists taught or influenced or befriended would fill the page, and some would then be overlooked or forgotten. Mr. Matzen made a failure once, however. A certain young student by the name of Walter Teagle decided that the road to art was too rocky and the gate too strait. There wasn't enough money in it. He would go where the money was. He did. He is now president of the Standard Oil Company of New Jersey and has money enough to get along with. Failure? Well, perhaps. But one of the uses Mr. Teagle 1082 - THIS CLEVELAND OF OURS has made of his wealth has been to gather a fine collection of paintings and other works of art. Matzen's teaching has radiated throughout the city, and the effects of it are found in the most unlikely places. But his own work in sculpture has been of no less value. No group demanded by a public building commission has been tho large or complex for his imagination to grapple with. No detail has been too small for his most careful attention. The strength and sweep of the figures in the Indianapolis War Memorial are equalled by the simple grace of the kneeling figure with the Tree of Life in the medal of the Visiting Nurses Association. Tremendously convincing is the Haserot Memorial "Finis" in Lake View Cemetery. The task is over. The powerful wings of the seated figure are spread, but are at rest. The sword is sheathed and pointed downward by the strong hands. There is vigor in the con-ception, but there is also peace. At the age of seventy-one Matzen still works daily at his studio. He had a grandfather who started an entirely new and wholly successful business at the age of ninety, so he considers himself still young enough to learn, and has no thought of retirement. The commission for the Visiting Nurses' medal turned his thoughts toward nurses, and one of the things on which he has recently been engaged is the model of a nurse's head, to be cast, probably, in ivory terra cotta. The figure of Richard Wagner in Edgewater Park has been considered by visiting artists of even more value than that of Tom L. Johnson in the Public Square. Matzen has studied the lives and characters of the subjects of his portrait sculptures, he has sought and found the hidden springs of action and has been able to give expression to what he has found. ARCHITECTURE Architecture in Cleveland presents an extremely interesting development. In the Western Reserve Historical Society there is a miniature reproduction of the cabin of Lorenzo Carter in THE CITY'S LIFE - 1085 which so many social, intellectual (if one could call them that) , and religious activities of the early Cleaveland centered. From the steps of that same building which shows the log cabin and pictures of early houses, one looks out across the Fine Arts Garden of Wade Park to the Cleveland Museum of Art and to Severance Hall. To the right can be seen the new pile of Lakeside and the Babies' Hospitals, and the chapel of Adelbert College. High up to the southeast, just glimpsed between trees, rises the new Church of Christ, Scientist, on Overlook Road. Across to the north is to be seen the metal spire of Epworth-Euclid Methodist Episcopal Church, adding an unusual note in the somewhat classic atmosphere dominated by the Museum. Interesting in this church is the American adaptation of Norman and English architectural ideas to the fulfilment of an American purpose. Hidden from the observer emerging from the Historical Society's world of Indians and pioneers into a strange and modern cosmos, but existing as part of the great architectural group centering around the University, is the Byzantine mass of the Jewish Temple on East One Hundred and Fifth Street. This, too, suffered an American modification of the usual Hispano-Moorish type adopted by Jewish Temples. It has the circular interior which has been found best for auditory purposes, but its exterior, instead of having an even number of sides, six or eight, as the type calls for, has been made a septagon to fit the demands of the lot on which it stands. The building loses nothing of beauty by that change, which is, perhaps, symbolic of "the just made perfect." Not far along the way is Mount Sinai Hospital. A little way to the eastward on Euclid Avenue is that Gothic success- of American architects, the Church of the Covenant. In all these churches, friendly with each other, are preached doctrines of brotherhood and tolerance which would seem strange indeed to those strong-minded pioneer preachers whose sermons were heard in the cabin or Carter, doctrines of civic-mindedness which a hundred: and thirty years ago had hardly the substance of a dream. In the hospitals the last word 1086 - THIS CLEVELAND OF OURS in medical research finds living form. The strange machinery by which anaesthetics are administered, the strange lights by which bones are set and diseases diagnosed, the very hard and fast routine by which nursing is administered, find their roots in that human tenderness which will not tolerate pain where it can be avoided, which refuses to believe there are any ills of the body for which, some time, a cure may not be found. In those schools and colleges are taught subjects of which the little school teacher who held her classes in Carter's cabin could have had neither cognizance nor ability to imagine. And it is quite certain that she would have considered certain of the scientific courses wicked, and the mere suggestion of a light organ such as that of Severance Hall not only impossible but in some curious way blasphemous. Yet thousands of students go their way in and out of those educational halls, studying everything throughout the alphabet from Architecture to Zoology and from Art and Analytic Geometry to Zarathustrain Philosophy, with no thought that there can possibly be anything wrong about the presentation of any aspect of the vast, many-faceted and always elusive Truth. The historical student rubs his eyes and wonders, for a moment, which is the reality, which the memory or figment of a dream. Then he steps down into the modern city, wondering how, architecturally as well as otherwise, it came to be as it is. Abram Garfield says that no city of the Middle West has any architectural history that goes farther back than the last years of the nineteenth century. "There may be isolated buildings that remain, and which have had a surviving influence; but generally speaking, the statement is true. Almost nothing is left that had significance when men in middle life today were boys. Business districts have been rebuilt, or have even left that part of the city which was the center of its greatest activity during the eighteen eighties. Residence districts have been swept away, and the opportunity which in slower growing districts was THE CITY'S LIFE - 1087 given to some districts to surround themselves with the dignity achieved by age alone has been denied. This takes with it the result that almost everything that was built in the ill-considered period of the 'seventies and 'eighties has been replaced. At first sight this should be an advantage; and if our cities have missed the growing romance of old buildings and associations, we should have, with our experience, a newer and better ordered beauty." Among the isolated buildings which remain may be noted the Colonial chapel at Hudson, Ohio, built in 1826 for Western Reserve College and still in daily use by Western Reserve Academy. The church at Tallmadge, Ohio, is another, and there are still a few beautiful and ancient homes to be found, usually showing Colonial or Georgian influences. Whether Cleveland will move in the direction of a better ordered beauty is still, nearly ten years after Mr. Garfield wrote his article in Art and Archaeology, somewhat of a problem. But there are certain respects in which Cleveland did plan its architecture wisely, and there is still hope for the completion of the plans. The most noteworthy of these is what has been known all over the world for thirty years as "Cleveland's Group Plan." The first decade of the present century was one in which many energies were released. The Johnson administration was one of these forms of released energy which took direction of clean politics and what was called "civic-mindedness." The plan of Cleveland architects and the Chamber of Commerce for a unified group of public buildings was another. This idea that the buildings should have a relation to one another, says Mr. Garfield, "has become so common for American cities that we forget how difficult it was to prove its value in those days when public buildings were erected by unrelated commissions who looked upon regulation from any outside source as a clear interference with their prerogative." A plan was finally drawn up, with the expectation that the Union Station would be on the lake front, and would be an integral part of the group. The Postoffice was put in its appointed place, and much later, the County Courthouse and 1088 - THIS CLEVELAND OF OURS City Hall. But changes in political points of view, wars, depressions and the natural forgetfulness and lack of directed aim which seem to be characteristic of a democracy, allowed the whole plan to lapse for many years. The Public Hall—whose formal name is Municipal Auditorium—finally came to rest where it belonged. But a temporary annex built to house the displays of a street-car convention was allowed, to disfigure the landscape just west of the Hall for six years. It is being torn down as "This Cleveland of Ours" goes to press, and its steel beams and some other materials are being used in the erection of the new Wayfarers' Lodge on Lake-side Avenue. A hall similar in size to the street-car annex is being constructed underground, to house future exhibits of great size. Nothing projects except a few ventilating out-lets which are to be hidden by shrubbery. The Public Library and Board of Education buildings are in the places planned for them. North of the Courthouse and City Hall, where the Union Station was to stand, the immense Cleveland Stadium has been built on a western part of the space, and it is the hope that a municipal pool may bal-ance it to the eastward. By the summer of 1933 it is excepted that at last there will be a beautiful Mall running between majestic buildings to give a vista of Lake Erie from Superior Avenue straight north. There are to be trees and a fountain, and green lawns. It is the hope that some day, since the station is not there, the railway tracks at the foot of the hill along the lake shore may be bridged over, and a reclaimed front yard be available, with lake beach, piers for pleasure boats and a far view over tossing waters. Remembering vaguely some of the details of this plan so long in consummation, some of the designs altered, some for-gotten, some of them only interrupted, this writer asked Miss Jessie Glasier if it were not true that certain sculptures had at one time been ordered from Herman Matzen, and if so, what had happened to them. Miss Glasier replied with the following contribution : THE CITY'S LIFE - 1091 "The story of the development of Cleveland's group plan is shadowed by the story of a broken dream. A huge project, that Mall, the greatest in the city's history of building and beautifying ! And it involved the biggest work of one of Cleveland's biggest men. "Besides the statues adorning the County Courthouse, colossal groups and single figures, symbolizing the city's industries, art, sciences and municipal welfare and corrective work, were to stand in the ample space about the city hall. The commission for these was awarded to Cleveland's most eminent sculptor, Herman N. Matzen, a man of rare culture and ripe experience, whose genius was nationally recognized. "A big undertaking, a big man, and in the end, the biggest of municipal failures. Month after month, in his lofty studio, built purposely for work on such heroic scale, Herman Matzen wrought with hand and brain, his creative impulse flowering faster than the damp clay could be shaped, his ambition soaring with each new conception. " 'These will be my life work,' he proudly told the friends who came to admire and congratulate when at last the great groups and symbolic figures stood whitely in plaster, ready to be chiseled in enduring stone. "Then came a change in city administration. There was a great deal of talk about retrenchment. No money now for the completion of those huge sculptures. The dream began to fade, its rainbow hues growing drab. Hope lingered long in the heart of the man whose ghostly white creations, slowly gathering dust, spoke only of unfulfilment. At last, when months had lengthened into years, that atmosphere of defeated purpose grew too great a clog on the sculptor. He could no longer feel enthusiasm for fresh creative work in such an atmosphere. "City drays carted away the mute white dream children. Pegasus, symbol of the city's creative vision, stands now with immobile wings, in an abandoned storage room, surrounded by grimy figures, the plaster chipped and broken here and there, growing blacker and more defaced with each passing year. 1092 - THIS CLEVELAND OF OURS "Green grass surrounds the city hall. There is no sculpture there. In the sculptor's heart alone the once beautiful dream survives. There never seemed to be enough money available for the completion of the models in permanent materials. Both the man and his work carry scars." It is a pity that there must be the great waste, for city and artist alike, of these broken dreams. But perhaps, at long last, over these dead hopes may rise in this one group, at least, a fraction of that ordered beauty for which every architect hopes and towards which he works for his city. The third group for which Cleveland finds itself famous, counting the collection of religious, educational, artistic and social buildings which center about the University as one, and the Group Plan of Public Buildings as two, is the Terminal Group. This has been dealt with in a separate chapter, primarily as a business fact, because of its connection with transportation and trade. It is also great architecturally, in bulk and in detail. Its massed buildings serve to balance the civic group across the Public Square. Below is the railway station. Above is the huge group of hotel, department store, garage and other buildings, the whole surmounted by its tall tower, which dominates the city as St. Peter's dome dominates Rome. There are many beautiful public buildings outside the groups, such as that of the Federal Reserve Bank. (The fine new building of the Ohio Bell Telephone Company is at present Cleveland's only notable example of the Babylonian setback type.) But they do not differ greatly from those of other cities. It is the three striking groups which characterize Cleveland in the eyes of its visitors from other parts. It was Daniel Burnham who drew up the first plans for Cleveland's Group Plan, so many years ago. Walker and Weeks have done most of the later public buildings, including that exquisite home of music, Severance Hall. Philip Small, after doing many charming private homes, has been devoting himself of late to the field of larger buildings. Cleveland has many successful architects—to name a few is only to be reminded of the names unmentioned. Some of THE CITY'S LIFE - 1095 the best known are the firms of Garfield, Stanley-Brown and Harris, Hugh Fullerton, Herman Dercum, Bohnard and Parson, Hubbell and Benes, Meade and Hamilton. Nor should the late Schweinfurth be forgotten, whose bridges along Rockefeller Park are of a massive and enduring grace. And speaking of bridges—the one form, it has been said, in which man may add to the beauty of nature—the Hilliard Avenue Bridge across Rocky River, from every angle at which it may be seen, remains one of the most beautiful structures in Cleveland's metropolitan district; which is saying a good deal, because the newer bridges are almost all of satisfactory design. There are many beautiful churches of many differing styles in Cleveland. To anyone familiar with English and Canadian churches, almost all of them suffer from lack of proper setting. Green lawns and trees seem necessary to bring out the full beauty of ecclesiastical design. One of the exceptions is St. Paul's Protestant Episcopal Church at the point where Coventry Road and Fairmount Boulevard come together. Another is that tiny jewel of yellow sandstone, St. Peter's Protestant Episcopal Church at the corner of Detroit Avenue and West Clifton Boulevard, whose exterior is so greatly enhanced by its bit of lawn and the shadow falling on it from one great pine tree. Still a third example is St. Ignatius Roman Catholic Church on Lorain Avenue at its junction with West Boulevard. Here the church has not, itself, a satisfactory amount of room, but it stands at the head of the boulevard, so that its campanile is visible for a long distance as one approaches driving southward over the boulevard with its rows of trees. St. Agnes Church, that fine example of the Romanesque, loses by being too close to other buildings, and so does the beautiful Methodist Episcopal Church at the corner of Lee and Bradford roads. The Church of the Covenant, in the University group, has at least enough lawn in its angle to permit the church to be seen and enjoyed by the passer-by. Doubtless one reason why green landscape settings' are so much missed where they have not been given to Cleveland 1096 - THIS CLEVELAND OF OURS churches is the fact that Clevelanders have so much of this verdant charm around their own homes. In its early day Cleveland was known as the Forest City, and well it deserved that title, not only because it had been cut out of a forest—many cities shared that history—but because it had so well preserved in streets and avenues its woodland shade and pleasantness. Today along its business streets the trees have vanished. But almost every home has its bit of grass, every residence street worth the name its trees, every backyard its garden. In older cities one comes to expect the effects naturally resultant upon the crowding. Cleveland so far has retained its sense of space, air and natural freedom. The tax situation is undoubtedly a factor in cutting short the area upon which church buildings are set. That is tax-free. Vacant land, so-called, around the building, would probably not be considered as used for religious purposes. Whether in the future such ground be considered as park land, or whether its taxes be arranged for by its congregation, it may be hoped that the city will some day find a way to put a premium instead of a penalty upon the maintenance of that outward garment of beauty which radiates blessing to every passer-by as well as on their inner halls of worship which give their grace only to those who enter. Domestic architecture would furnish in itself material not only for a chapter but for a book. One of the interesting facts is that the first house of any architectural beauty in Cleveland was built by Alfred Kelley for his father, Judge Daniel Kelley, who came to Cleaveland about 1810. The Kelley family were active in Cleaveland affairs from the first moment of their arrival. One of the first stores—the first brick one—was erected by Joseph R. and Irad Kelley, brothers, sons of Daniel. This Joseph Reynolds Kelley was the father of Horace Kelley, whose bequest was one of those most important in building the present Cleveland Museum of Art. Apartment buildings, so far, are almost wholly bad, and the less said about them the better. A few designed by Alfred Harris in Shaker Heights have pleasing exteriors. An effort has been made in one or two on Lake Avenue to harmonize THE CITY'S LIFE - 1099 form with function. But for the most part, apartment owners do not seem to care. Prizes offered are disregarded. Cleveland can do better than this, and perhaps in a few years may learn to do so. Among the interesting modern problems solved by Cleveland architects may be mentioned two by William Robert Powell. One of these is the Cleveland Heights City Hall. The growth of cities is well illustrated by the fact that the drawings were made for the "Cleveland Heights Village Hall," by the time it was built it was referred to as the Town Hall, and is now always called the City Hall. There, in a building of colonial type, are housed not only the council hall, as was necessary for New England Town Meeting, but all the administrative offices, as well as the police and fire departments and the jail. The building suffers greatly from lack of room. It should have been set farther back from the street, with trees and shrubbery not only to beautify the whole, but to break the noise of the city street which now flows, rattles and bangs by the hall planned for the village. But it has value for the architectural student in the statement and solution of a complicated problem. Another interesting solution by Powell was that of the Lorain Medical Building, at the corner of Loraine Avenue and West One Hundred and Eleventh Street. Here the problem was to house stores on the first floor, physicians' offices, including a small emergency hospital, on the second, and residence apartments for the physicians on the third. The result is a delightful building with all three problems separately solved in one harmonious whole. This building is given special mention as providing proof of Mr. Garfield's contention that the problem of the small business and apartment building can be adequately solved by owners and architects giving intelligent consideration to the matter. The newly opened Children's Building, on grounds bounded by Cedar and Central avenues and East Twenty-second street, designed by Frank W. Bail, solves still another modern problem in a way which points distinctly forward. The building, originally intended merely to house the Juvenile