Excerpt from The Building Review, Vol. 19
Under his fervor and enthusiasm, together with that of Daniel Burnham, it took shape. To their unswerving devotion to this idea, their gilts to it of money and time; to their inspiring example; to the years of Frank Millet's unselfish service, and to the adherence of such others as La Farge and Saint-Gaudens, now gone, Mobray, French and Blashfield, happily still active among us, that the seed came to its present fine fruition.
In Rome the American Academy occupies the finest site in the city. Its buildings stand upon the summit of Mount Janiculum, the highest point within the walls. Near its gates lies the ground over which Garibaldi fought in 1849; in one of its buildings he made his headquarters for the last time and the siege left it in ruins. From the Academy windows and terraces one sees the dome of Saint Peters, mother church of them all, and all Rome lies stretched out beneath.
Mr. C. Grant LaFarge, secretary of the Academy, who is devoted to the principles which have been its guide for twenty-five years, writes enthusiastically of its great work: "The American Academy in Rome offers opportunities for architects, painters and sculptors in its School of Fine Arts, and for archaeologists, historians and students of literature in its School of Classical Studies. The latter was founded in 1895, and a union between the two institutions was effected in 1912." Says Mr. LaFarge: "Although its two coordinate branches are called 'schools,' they are not schools in any commonly accepted sense. The Academy is not for teaching rudiments, it does not have classes, nor does it even impose a very rigid prescribed course. Its beneficiaries are those who have advanced far beyond the preliminary stages in their various callings. They come to Rome for enlargement and fuller development of their knowledge, and talents through first hand contact with the records of the past. What the Academy offers - its Prize of Rome - is not meant to be benevolent assistance to worthy youth, but the means whereby the best material discoverable may be raised to its highest powers for the elevation of American art and letters."
The Academy sends out Fellows annually and offers in addition the privilege of its facilities to the fellowship holders sent out from fifteen American universities and other educational institutions. Fellows are chosen in competitions held throughout America.
The American Academy in Rome is a national institution and it is erected upon the underlying conception of the value of and need for collaborative work among artists. Its students come from all parts of the United States, and they are thrown together in working out their problems - "not Fellowships only, but fellowship truly." It is most enlightening to note that the board of trustees of the Academy is composed of representatives of the provinces of architecture, sculpture, painting, archaeology, literature, and history. It is furthermore stipulated that three-fifths of the trustees must at all times be professionally engaged in their respective types of work and that the three major fine arts must always be represented by no less than two-thirds of the professional members of the board. Devoted experts thus control the destiny of the American Academy in Rome.
The exhibition just closed is an index of the Academy's success and usefulness and a sustained test of its policy of educational work. The entire collection of drawings, paintings, photographs, reliefs, figures, etc., are to be sent on tour throughout the country as one of its regular traveling exhibitions by the American Federation of Arts.
An Italian Garden
Recesses were made in the garden walks for marble seats, which were placed after the accompanying photographs were taken. The walks were made of crushed limestone.
The front of the place was treated in a simple manner with a broad expanse of velvety lawn and border. Это и многое другое вы найдете в книге The Building Review, Vol. 19 (Classic Reprint)