upper stages, leaving the clear-story surrounding the crossing
unimpeded and well defined. The light comes for the most part from
high windows, filtering down, in tempered brightness to the floor. The
bones of the structure are everywhere in evidence, and an element of
its beauty, by reason of the admirably direct and logical
arrangement of posts and trusses. The vertical walls are covered with
plaster-board of a light buff color, converted into good sized
panels by means of wooden strips finished with a thin grey stain. The
structural wood work is stained in similar fashion, the iron rods,
straps, and bolts being painted black. This color scheme is
completed and a little enlivened by red stripes and crosses placed at
appropriate intervals in the general design.

The building attained its final synthesis through the collaboration of
a Cleveland architect and a National Army captain of engineers. It is
so single in its appeal that one does not care to inquire too closely
into the part of each in the performance; both are in evidence, for
an architect seldom succeeds in being so direct and simple, while an
engineer seldom succeeds in being so gracious and altogether suave.

Entirely aside from its æsthetic interest--based as this is on beauty
of organism almost alone--the building is notable for the success with
which it fulfils and co-ordinates its manifold functions: those of a
dormitory, a restaurant, a ballroom, a theatre, and a lounge. The
arm of the cross containing the principal entrance accommodates the
office, coat room, telephones, news and cigar stand, while leaving
the central nave unimpeded, so that from the door one gets the unusual
effect of an interior vista two hundred feet long. The restaurant
occupies the entire left transept, with a great brick fireplace at the
far end. There is another fireplace in the centre of the side of