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Tutorial 6: Creating a Web Form

TRUE/FALSE

1. HTML supports tags that allow you to create forms and analyze the information submitted on forms.

ANS: F PTS: 1 REF: HTML 397

2. The earliest and most common of the languages used for server-based programs are called CGI scripts,
written in a language called Perl.

ANS: T PTS: 1 REF: HTML 398

3. PHP and ASP are popular languages widely used today for writing server-based programs.

ANS: T PTS: 1 REF: HTML 398

4. The get method appends the form data to the end of the URL specified in the action attribute.

ANS: T PTS: 1 REF: HTML 400

5. Typically, forms only contain form elements and no page elements.

ANS: F PTS: 1 REF: HTML 399

6. Among the attributes included with the <form> tag are attributes that include information on how to
process the form.

ANS: T PTS: 1 REF: HTML 399

7. A single Web page can contain at most one form.

ANS: F PTS: 1 REF: HTML 399

8. One way of organizing a form is to group similar fields into field sets.

ANS: T PTS: 1 REF: HTML 402

9. A password text box hides text entered by the user.

ANS: T PTS: 1 REF: HTML 405

10. Access keys can be used with hyperlinks and are particularly helpful to users with impaired motor
skills who find it difficult to use a mouse.

ANS: T PTS: 1 REF: HTML 408

11. Field sets are block elements that limit the numbers of characters the text box can hold.

ANS: F PTS: 1 REF: HTML 404

12. HTML allows you to formally link a label with an associated text box element for scripting purposes.
 ANS: T PTS: 1 REF: HTML 408

13. Unlike a default field value, a placeholder is not stored in the data field and is not sent to the server as
a field value.

ANS: T PTS: 1 REF: HTML416

14. An access key is a single key that you type in conjunction with the Alt key for Macintosh users.

ANS: F PTS: 1 REF: HTML 408

15. When the <input> tag is used to create radio buttons, the tag also creates labels for radio buttons.

ANS: F PTS: 1 REF: HTML429

16. Users are limited to a single selection from a selection list.

ANS: F PTS: 1 REF: HTML 422

17. Check boxes are selected by default.

ANS: F PTS: 1 REF: HTML 437

18. A command button runs a command that affects the contents of the Web page or the Web browser
itself.

ANS: T PTS: 1 REF: HTML 456

19. Data values do not need to be tested or validated before they are used.

ANS: F PTS: 1 REF: HTML 461

20. One advantage of the current validation checks is that they occur after a user has completed and
submitted the form.

ANS: F PTS: 1 REF: HTML 466

MODIFIED TRUE/FALSE

1. Input boxes are a form control element used for text and numerical entries. ____________________

ANS: T PTS: 1 REF: HTML 397

2. Option lists are a form control element for long lists of options. ____________________

ANS: F, Selection

PTS: 1 REF: HTML 397

3. The earliest and most common server-based programs are CGI scripts written in a language called
Perl. ____________________
 ANS: T PTS: 1 REF: HTML 398

4. The get method sends form data in a separate data stream. ____________________

ANS: F, post method

PTS: 1 REF: HTML 400

5. The language used to create a server-based program depends on the Web server.
____________________

ANS: T PTS: 1 REF: HTML 399

6. The <table> tag identifies the beginning of a form. ____________________

ANS: F, form

PTS: 1 REF: HTML 399

7. The <form> tag includes attributes that control how the form is processed. ____________________

ANS: T PTS: 1 REF: HTML 399

8. To associate text with a control element, you can use the label element.. ____________________

ANS: T PTS: 1 REF: HTML 408

9. When you link a label with an associated input box element, you use the name attribute of the field.
____________________

ANS: F, id

PTS: 1 REF: HTML 408

10. A placeholder is a numeric string that appears within the control element and provides users with
information about the kind of information accepted by the field. __________________

ANS: F, text

PTS: 1 REF: HTML 416

11. An access key is a single key that you type in conjunction with the Command key for Macintosh users,
to jump to one of the control elements in the form. ____________________

ANS: F, Control

PTS: 1 REF: HTML 408

12. A selection list is a list box that presents users with a group of possible field values for the data field.
____________________

ANS: T PTS: 1 REF: HTML 422

13. Like selection list items, only one radio button can be selected at a time. ____________________
 ANS: F, Unlike

PTS: 1 REF: HTML 429

14. A control element that allows extended text entries is the textarea element. ____________________

ANS: T PTS: 1 REF: HTML 366

15. Input boxes with the number data type are displayed using a spinner control in which users click an up
or down arrow to increase or decrease the field value, respectively.____________________

ANS: T PTS: 1 REF: HTML 447

MULTIPLE CHOICE

1. Information entered into a field is called the field ____.

a. index c. attribute
b. rating d. value
ANS: D PTS: 1 REF: HTML 397

2. Each control element in which the user can enter information is called a(n) ____.
a. field c. value
b. index d. area
ANS: A PTS: 1 REF: HTML 397

3. Text ____ are used for extended entries that can include several lines of text.
a. areas c. rosters
b. buttons d. matrices
ANS: A PTS: 1 REF: HTML 434

4. Selection lists usually appear in a ____ box.

a. value list c. form
b. radio d. drop-down list
ANS: D PTS: 1 REF: HTML 426
5. As shown in the accompanying figure, the form contains ____ elements, which are commonly used in
Web page forms.
a. control c. access
b. formula d. box
ANS: A PTS: 1 REF: HTML 459

6. The item marked ____ in the accompanying figure is an input box.

a. 1 c. 4
b. 2 d. 6
ANS: A PTS: 1 REF: HTML 407

7. The item marked ____ in the accompanying figure is a selection list.

a. 1 c. 3
b. 2 d. 6
ANS: B PTS: 1 REF: HTML 425
 8. The items marked 3 in the accompanying figure are ____ buttons.
a. check c. option
b. group d. cluster
ANS: C PTS: 1 REF: HTML 431

9. The item marked 4 in the accompanying figure is a(n) ____ button.

a. report c. option
b. reset d. spinner control
ANS: D PTS: 1 REF: HTML 447

10. The item marked 6 in the accompanying figure is a ____ area.

a. registration c. text
b. form d. list
ANS: C PTS: 1 REF: HTML 436

11. The item marked 5 in the accompanying figure is a ____ box.

a. text c. check
b. field d. form
ANS: C PTS: 1 REF: HTML 438

12. Option buttons are sometimes called ____ buttons.

a. group c. radio
b. cluster d. aggregate
ANS: C PTS: 1 REF: HTML 429

13. You should check with your ISP or system administrator to find out what ____ are available and what
rights and privileges you have in working with them.
a. scripts c. passwords
b. access keys d. XMLs
ANS: A PTS: 1 REF: HTML 399

14. CGI scripts can be written in which of the following languages?

a. TCP c. Perl
b. JavaScript d. Any of the above
ANS: C PTS: 1 REF: HTML 398

15. Forms are created using the ____ element.

a. <field> c. <html>
b. <form> d. <input>
ANS: B PTS: 1 REF: HTML 399

16. The ____ attribute of the <form> tag represents the older standard for identifying each form on the
page.
a. id c. name
b. identification d. what
ANS: C PTS: 1 REF: HTML 399

17. The ____ attribute has two possible values: get and post.
 a. value c. method
b. id d. name
ANS: C PTS: 1 REF: HTML 400

18. ____ sets are used to organize form elements.

a. Option c. Text
b. Radio d. Field
ANS: D PTS: 1 REF: HTML 402

19. HTML 4 supports ____ different input types.

a. 10 c. 16
b. 15 d. 17
ANS: A PTS: 1 REF: HTML 404

20. If you do not include the type attribute in an <input> tag, the Web browser assumes that you want to
create a(n) ____.
a. check box c. option button
b. input box d. submit button
ANS: B PTS: 1 REF: HTML 404

21. Which input type displays a browse button to locate and select a file?
a. type= “attach” c. type= “file”
b. type= “find” d. type= “browse”
ANS: C PTS: 1 REF: HTML 405

22. Which input type creates a field that is not viewable on the form?
a. type= “conceal” c. type= “view”
b. type= “off” d. type= “hidden”
ANS: D PTS: 1 REF: HTML 405

23. Which input type displays an inline image that can be clicked to perform an action from a script?
a. type= “image” c. type= “picture”
b. type= “inline” d. type= “action”
ANS: A PTS: 1 REF: HTML 405

24. Which input type displays an input box that hides text entered by the user?
a. type= “hidden” c. type= “user”
b. type= “password” d. type= “hide”
ANS: B PTS: 1 REF: HTML 405

25. When a form is submitted, the server receives the data in ____ pairs.
a. name/value c. id/value
b. label/name d. value/label
ANS: A PTS: 1 REF: HTML 404

26. To create an input box for ____ entry, add the element <input type=”type” name=”name” id=”id” /> to
the web form, where type specifies the type of input control, rhe name attribute provides the name of
the field associated with the control element, and the id attribute identifies the control element itself.
 a. numeric c. text
b. label d. character
ANS: C PTS: 1 REF: HTML 405

27. When you link a label with an associated text element for scripting purposes, you must bind the label
to the ____ attribute of the field.
a. id c. label
b. name d. what
ANS: A PTS: 1 REF: HTML 408

28. To associate a label with the control element with the id of "city", you would enter ____.
a. <label id="city"> c. <label element="city">
b. <label for="city"> d. <label associate="city">
ANS: B PTS: 1 REF: HTML 408

29. Label elements are normally ____ elements.

a. inside c. inline
b. outline d. outside
ANS: C PTS: 1 REF: HTML 412

30. The ____ style can be used to change label elements into block elements.
a. type:block c. display: block
b. format: block d. block: block
ANS: C PTS: 1 REF: HTML 413 | HTML414

31. The placeholder automatically disappears as soon as a user selects the ____ box.
a. label c. text
b. input d. textarea
ANS: B PTS: 1 REF: HTML 416

32. To set the number of options displayed at one time in the selection list, add the attribute_______,
a. selected = “selected” c. multiple=”multiple”
b. size=”value” d. select = “select”
ANS: B PTS: 1 REF: HTML 423

33. To define a default field value, add the attribute ____.

a. size =”value” c. input =”value”
b. value=”value” d. value = “chars”
ANS: B PTS: 1 REF: HTML 415

34. Another way you can specify the width is to use the ____ attribute.
a. size c. length
b. maximum d. characters
ANS: A PTS: 1 REF: HTML 415

35. To avoid confusion, set the width either with _____ width style or the HTML size attribute, but not
both.
a. CIS c. CGI
 b. CSS d. PHP
ANS: C PTS: 1 REF: HTML 415

36. Many browsers include a(n) ________ feature that automatically fills in input form values if they are
based on previously filled out forms.
a. autocorrect c. grammar check
b. autocomplete d. spelling
ANS: B PTS: 1 REF: HTML 411

37. To define a default value for a field, use the following syntax: ____.
a. <input field= “value” /> c. <input default= “value” />
b. <input main= “value” /> d. <input value= “value” />
ANS: D PTS: 1 REF: HTML 415

38. Press the ____ key to move between input boxes.

a. Shift c. Ctrl
b. Tab d. Alt
ANS: B PTS: 1 REF: HTML 408

39. You can specify an access key for an input element by using the ____ attribute.
a. shortcut c. accesskey
b. key d. keypress
ANS: C PTS: 1 REF: HTML 408

40. The ________ automatically disappears as soon as a user selects the input box.
a. input box c. textarea
b. text box d. placeholder
ANS: D PTS: 1 REF: HTML 416

41. ____ buttons can be placed into a group so that selecting one deselects all of the others.
a. Checkbox c. Command
b. Image d. Radio
ANS: D PTS: 1 REF: HTML 429

42. To group option buttons so that selecting one deselects all of the others, you must make the ____
attribute the same.
a. name c. id
b. type d. value
ANS: A PTS: 1 REF: HTML 430

43. To identify the specific options for option buttons, you use the ____ attribute.
a. name c. id
b. type d. value
ANS: C PTS: 1 REF: HTML 433

44. To specify that an option button be already selected, you type ____.
a. checked="yes" c. checked="checked"
b. value="checked" d. value="yes"
 ANS: C PTS: 1 REF: HTML 434

45. A ____ should be used to provide visual indication that option buttons belong in the same group.
a. fieldset c. table
b. label d. value
ANS: A PTS: 1 REF: HTML 430

46. In the general syntax for the <select> and <option> tags, each ____ tag represents an individual item in
the selection list.
a. <option> c. <index>
b. <item> d. <each>
ANS: A PTS: 1 REF: HTML 425

47. By default, the ____ tag displays one option from the selection list, along with a list arrow to view
additional selection options.
a. <index> c. <option>
b. <select> d. <checked>
ANS: B PTS: 1 REF: HTML 423

48. HTML allows you to organize selection lists into distinct groups called ____ groups.
a. option c. unique
b. selection d. category
ANS: A PTS: 1 REF: HTML 428

49. You can change the number of options displayed in a selection list by modifying the ____ attribute.
a. display c. size
b. list d. number
ANS: C PTS: 1 REF: HTML 426

50. When using the password data type, any information that a user enters will be displayed as a series of
____ or asterisks, protecting the information from prying eyes.
a. dashes
b. dots
c. ampersands
d. plus signs
ANS: B PTS: 1 REF: HTML 429

51. For noncontiguous selections from a selection list on a PC, press and hold the ____ key while you
make your selections.
a. Ctrl c. Esc
b. Shift d. Alt
ANS: A PTS: 1 REF: HTML 427

52. For a contiguous selection in a selection list, select the first item, press and hold the ____ key, and then
select the last item in the range.
a. Ctrl c. Esc
b. Shift d. Alt
ANS: B PTS: 1 REF: HTML 427
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53. ____ are used to check for the presence or absence of something.
a. Check boxes c. Group boxes
b. Option boxes d. Text boxes
ANS: A PTS: 1 REF: HTML 437

54. To make a check box selected by default, you add ____.

a. selected="true" c. checked="checked"
b. selected="selected" d. checked="true"
ANS: C PTS: 1 REF: HTML 438

55. The ____ attributes define the dimensions of a text area.

a. height and width c. top and bottom
b. rows and cols d. high and wide
ANS: B PTS: 1 REF: HTML 434

56. In a text area, the default value of the wrap attribute is ____.
a. on c. soft
b. off d. hard
ANS: C PTS: 1 REF: HTML 435

57. In a ____ wrap, information about where the text begins a new line is included with the data field
value.
a. soft c. off
b. hard d. on
ANS: B PTS: 1 REF: HTML 435

58. When a user tabs through the form, the tab order will reflect the order of the items in the ____ file.
a. HTML c. CSS
b. CGI d. PHP
ANS: A PTS: 1 REF: HTML 437

59. Typically, users navigate through a Web form using the _____ key, which moves the cursor
from one field to another in the order that the field tags are entered into the HTML file.
a. ALT c. SHIFT
b. TAB d. CTRL
ANS: B PTS: 1 REF: HTML 437

60. For most browsers, if no value for the wrap attribute of a text area is specified, a value of ____ is used.
a. hard c. soft
b. off d. on
ANS: C PTS: 1 REF: HTML 435

61. To create an action for a(n) ____ button, you have to write a script or program that runs automatically
when the button is clicked.
a. option c. group
b. radio d. command
ANS: D PTS: 1 REF: HTML 456
62. To create a button that will allow a user to send the form data to the server, you use a type of ____.
a. command c. option
b. reset d. submit
ANS: D PTS: 1 REF: HTML457

63. To create a button that will clear the form fields, you use a type of ____.
a. command c. option
b. reset d. submit
ANS: B PTS: 1 REF: HTML 457

64. The ____ control element is used to create a custom button.

a. command c. input
b. file d. button
ANS: D PTS: 1 REF: HTML 460

65. Validation can occur after the data is sent to the server with _________.
a. client-side validation c. HTML validation
b. server-side validation d. HTML5 validation
ANS: B PTS: 1 REF: HTML 460

66. A _____ is a concise description of a character pattern.

a. regular expression c. character string
b. regex d. both a and b
ANS: D PTS: 1 REF: HTML 464

67. The ____ method of the <form> tag packages form data by appending it to the end of the URL
specified in the action attribute.
a. post c. put
b. get d. keep
ANS: B PTS: 1 REF: HTML 400

68. The technique of immediate data validation and reporting of errors is known as _________.
a. online validation c. inline validation
b. regular expression d. immediate validation
ANS: C PTS: 1 REF: HTML 466

69. ______ refers to the state in which an element has been clicked by the user, making it the active
control element on the form.
a. Cursor c. Focus
b. Insertion point d. Directive
ANS: C PTS: 1 REF: HTML 467

70. The pseudo-class _____ matches check boxes or option buttons whose toggle states (checked or
unchecked) cannot be determined.
a. indeterminate c. invalid
b. checked d. required
ANS: A PTS: 1 REF: HTML 467
 Case-Base Critical Thinking Questions

Case 6-1
Oscar owns Oscar's Skateboard Shop. He wants to create a Web form to allow users to specify the type
of skateboards they would like to buy. This includes the make, model, type and color, and board
options. Oscar's skateboards come in Children, Young Adult, and Adult sizes. Oscar's skateboards
only come in color, pattern, and themes. He has over 25 makes and models of skateboards.

71. Since make and model are normally lists, Oscar should use a ____ tag to specify the lists.
a. <checkbox> c. <select>
b. <file> d. <command>
ANS: C PTS: 1 REF: HTML 422 TOP: Critical Thinking

72. Oscar should use ____ to allow users to select the skateboard type.
a. radio buttons c. command buttons
b. check boxes d. group boxes
ANS: B PTS: 1 REF: HTML 437 TOP: Critical Thinking

73. For the color, Oscar should most likely use ___.
a. radio buttons c. command buttons
b. check boxes d. group boxes
ANS: A PTS: 1 REF: HTML 429 TOP: Critical Thinking

Case-Based Critical Thinking Questions

Case 6-2
Wyona, owner of Wyona’s Hat Designs, desires to have a Web site built for customers to order
custom-made hats. They can pick from straw, leather, and material hat collections. Customers can
specify one of their existing patterns, which include about 50 designs. They can also choose a custom
pattern instead and then provide information about the pattern they want for Wyona to custom create.

74. In order to provide customers plenty of room to enter the information for a custom pattern, which type
of field should Wyona provide for the user?
a. textarea c. text
b. radio d. select
ANS: A PTS: 1 REF: HTML 434 TOP: Critical Thinking

75. Wyona wants to separate the different options for straw, leather and material. Which element can she
use to create these groups?
a. check box c. radio
b. select d. fieldset
ANS: D PTS: 1 REF: HTML 430 TOP: Critical Thinking

76. Wyona wants to label each group. Which element would be the best for her to use?
a. label c. legend
b. caption d. text
ANS: C PTS: 1 REF: HTML 403 TOP: Critical Thinking
 77. For her address she wants to make sure the zipcode is set to 5 characters only. Which attribute of a text
box will allow her to do this?
a. maxlength c. length
b. size d. characters
ANS: A PTS: 1 REF: HTML 466 TOP: Critical Thinking

Case-Based Critical Thinking Questions

Case 6-3
Larry has just bought an online Web hosting solution from a popular ISP. He knows the ISP provides
some scripts to allow people to create logon pages for their Web site if they want to have a
password-protected blog, for example. Larry wants to create such a page for his blog about video
games.

78. Before Larry builds his form, which of the following should he consult concerning required fields?
a. his ISP c. his desired form design
b. his other Web pages d. none of the above
ANS: A PTS: 1 REF: HTML 399 TOP: Critical Thinking

79. Which element will Larry most likely use to create the password element?
a. select c. textarea
b. input d. option
ANS: B PTS: 1 REF: HTML 405 TOP: Critical Thinking

80. What type of method will Larry most likely be using for submitting his form data?
a. get c. post
b. submit d. reset
ANS: C PTS: 1 REF: HTML 391 TOP: Critical Thinking

COMPLETION

1. Information entered into a field is called the field ____________________.

ANS: value

PTS: 1 REF: HTML 397

2. CGI stands for ____________________.

ANS: Common Gateway Interface

PTS: 1 REF: HTML 398

3. A(n) ____________________ is a box placed around a set of fields that indicates that they belong to a
common group.

ANS:
fieldset
field set
 PTS: 1 REF: HTML 402

4. The input type=“____________________” displays an option button.

ANS: radio

PTS: 1 REF: HTML 405

5. The input type=“____________________” displays a button that submits the form when clicked.

ANS: submit

PTS: 1 REF: HTML 405

6. A(n) ____________________ field is an input box in which the characters typed by the user are
displayed as bullets or asterisks.

ANS: password

PTS: 1 REF: HTML 429

7. If most people enter the same value into a field, it may make sense to define a(n)
____________________ value for a field.

ANS: default

PTS: 1 REF: HTML 415

8. ____________________ buttons are similar to selection lists in that they display a list of choices from
which a user makes a selection.

ANS:
Option
Radio

PTS: 1 REF: HTML 429

9. Selection lists are used for long lists of options, usually appearing in a(n) ____________________ list
box.

ANS:
drop-down
drop down

PTS: 1 REF: HTML 426

10. Adding the ____________________ attribute to the <select> tag allows multiple selections from a list.

ANS: multiple

PTS: 1 REF: HTML 427

11. ____________________ boxes specify an item as either present or absent.

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general arrangement is not uncommon in the business blocks of New York.
The unequal division into masses, of which one is just twice as wide as the
other, looks capricious in the present detached condition of the building;
though when another lofty building abuts upon it, the inequality will be
seen to be a sensible precaution to secure the effective lighting of the
narrower mass, the light for the wider being secured by a street upon one
side as well as by the court upon the other. Even so, this will not be so
intuitively beheld as the fact of the inequality itself, and as the differences
of treatment to which it gives rise and by which it is emphasized; for the
quaintness resulting from the asymmetry is so far from being ungrateful to
the designer that he has seized upon it with avidity, and developed it by all
the means in his power. Quaintness is the word that everybody uses
spontaneously to express the character of the Dutch and Flemish
Renaissance, and the treatment of these unequal gables is obviously derived
from Flemish examples. The origin of their crow steps and ailerons is
unmistakable, and the treatment of the grouped and somewhat huddled
openings, and their wreathed pediments and bull’s-eyes, richly and heavily
framed in terra-cotta, is equally characteristic, to the point of being baroque.
This character is quite evidently meant, and the picturesqueness that results
from it is undeniable, and gives the building its prevailing expression;
howbeit it is confined to the gables, the treatment of the substructure being
as “architecturesque” as that of the superstructure is picturesque. A simple
and massive basement of two stories in masonry carries the five stones of
brick-work heavily quoined in stone that constitute the body of the building,
and this is itself subdivided by slight but sufficient differences, the lower
story being altogether of masonry, and the upper arcaded. An intermediate
story, emphatically marked off above and below, separates this body from
the two-story roof, the gables of which we have been considering. The main
entrance, which gives

ENTRANCE TO NEW YORK LIFE

INSURANCE BUILDING, ST. PAUL.

access to a stately and sumptuous corridor, seems itself extraneous to the

building, having little congruity either with the straightforward and
structural treatment of the main building, or with the bulbous
picturesqueness of the gables. The care with which its detail is studied is
evident, and also the elegance of the detail in its kind and in its place; but it
does not seem to be in its place anywhere out-of-doors, and still less as
applied to the entrance of a business block to which it is merely applied,
and from which it is not developed. Its extreme delicacy, indeed, almost
gives the impression that it is meant to be a still small voice of scholarly
protest on the part of an “Eastern” architect against a “boisterous and
rough-hewn” Westernness. A still smaller voice of protest seems to be
emitted by the design of the Endicott Arcade, the voice of one crying, very
softly, in the wilderness. So ostentatiously discreet is the detail of this
building, indeed, so minute the scale of it, and so studious the avoidance of
anything like stress and the effort for understatement, that the very
quietness of its remonstrance gives it the effect of vociferation.
 “He who in quest of quiet ‘Silence’ hoots,
Is apt to make the hubbub he imputes.”

It seems to be an explicit expostulation, for example, with the architect

of the Guaranty Loan Building in Minneapolis, which has many striking
details not without ingenuity, and certainly not without “enterprise,” but as
certainly without the refinement that comes of a studied and affectionate
elaboration, insomuch that this also may be admitted to be W——n, and to
invite the full force of Dryden’s criticism. The building in the exterior of
which this mild remonstrance is made has an interior feature that is
noteworthy for other qualities than the avoidance of indiscretion and
overstatement—the “arcade,” so called, from which it takes its name—a
broad corridor, sumptuous in material and treatment to the “palatial” point,
one’s admiration for which is not destroyed, though it is abated, by a
consideration of its irrelevancy to a business block. The building of the
New York Life in Minneapolis, by the same architects as the building of the
same corporation in St. Paul, is more readily recognizable by a New-Yorker
as their work. It is a much more commonplace and a much more utilitarian
composition—a basement of four stories, of which two are in masonry,
carrying a central division also of four and an attic of two, the
superstructure

NEW YORK LIFE INSURANCE BUILDING,

MINNEAPOLIS.
Babb, Cook, & Willard, Architects.
being of brick-work. The two principal divisions are too nearly equal; nor
does the change of material effected by building the two upper stories of the
basement in brick-work achieve the rhythmic relation for the attainment of
which it was doubtless introduced. But the structure is nevertheless a more
satisfactory example of commercial architecture than the St. Paul building.
Its entrance, of four fluted and banded columns of a very free Roman Doric,
with the platform on consoles above, has strength and dignity, and is a
feature that can evidently be freely exposed to the weather, and that is not
incongruous as the portal of a great commercial building. A very
noteworthy feature of the interior is the double spiral staircase in metal that
has apparently been inspired by the famous rood screen of St. Étienne du
Mont in Paris, and that is a very taking and successful design, in which the
treatment of the material is ingenious and characteristic.

VESTIBULE OF NEW YORK LIFE INSURANCE BUILDING,

MINNEAPOLIS.

We have seen that the huddled condition of the business quarter of St.
Paul, practically a disadvantage in comparison with the spaciousness of
Minneapolis, has become architecturally a positive advantage. The natural
advantages with respect to the quarters of residence seem to be strongly on
the side of St. Paul. The
 DWELLING IN MINNEAPOLIS.
Harry W. Jones, Architect.

river-front at Minneapolis is not available for house-building, nor is there

any other topographical indication of a fashionable quarter, except what is
furnished by the slight undulations of the plateau. The more pretentious
houses are for the most part scattered, and, of course, much more isolated
than the towering commercial buildings. On the other hand, the fashionable
quarter of St. Paul is distinctly marked out by nature. It could not have been
established anywhere but at the edge of the bluff overhanging the town and
commanding the Mississippi. Surely this height must have been one of
those eminences that struck the imagination of Trollope when they were yet
unoccupied. And now the “noble residences” have come to crown the hill-
side, and really noble residences many of them are. There are perhaps as
skilfully designed houses in the younger city, and certainly there are houses
as costly; but there is nothing to be compared with the massing of the
handsome houses of St. Paul upon the ridge

DWELLING IN ST. PAUL.

Mould & McNichol, Architects.
above the river. Indeed, there are very few streets in the United States that
give in as high a degree as Summit Avenue the sense of an expenditure
liberal without ostentation, directed by skill, and restrained by taste. What
mainly strikes a pilgrim from the East is not so much the merit of the best
of these houses, as the fact that there are no bad ones; none, at least, so bad
as to disturb the general impression of richness and refinement, and none
that make the crude display of “new money” that is to be seen in the
fashionable quarters of cities even richer and far older. The houses rise, to
borrow one of Ruskin’s eloquent phrases, “in fair fulfilment of domestic
service and modesty of home seclusion.” The air of completeness, of finish,
of “keeping,” so rare in American towns, is here as marked as at Newport.
In the architecture there is a wide variety, which does not, however, suffice
to destroy the homogeneousness of the total effect. Suggestions from the
Romanesque perhaps prevail, and testify anew to the

PORTE-COCHÈRE, ST. PAUL.

Wilcox & Johnson, Architects.

influence of Richardson, though there are suggestions from the Renaissance

and from pointed architecture that show scholarship as well as invention.
The cleverness and ingenuity of a porte-cochère of two pointed arches are
not diminished by the likelihood that it was suggested by a canopied tomb
in a cathedral. But, indeed, from whatever source the inspiration of the
architects may have come, it is everywhere plain that they have had no
intention of presenting “examples” of historical architecture, and highly
unlikely that they would be disturbed by the detection in their work of
solecisms that were such merely from the academic point of view. It is
scarcely worth while to go into specific criticism of their domestic work. To
illustrate it is to show that the designers of the best of it are quite abreast of
the architects of the older parts of the country, and that they are able to
command an equal skill of craftsmanship in the execution of their designs.

PORCH IN ST. PAUL.

Mould & McNichol, Architects.

This does not answer our question whether there is any such thing as
Western architecture, or whether these papers should not rather have been
entitled “Glimpses of Architecture in the West.” The interest in this art
throughout the West is at least as general as the interest in it throughout the
East, and it is attested in the twin cities by the existence of a flourishing and
enterprising periodical, the “Northwestern Architect,” to which I am glad to
confess my obligations. It is natural that this interest, when joined to an
intense local patriotism, should lead to a magnifying of the Westernness of
such structures as are the subjects of local pride. It is common enough to
hear the same local patriot who declaims to you in praise of Western
architecture explain also
 FROM A DWELLING IN ST. PAUL.
Gilbert & Taylor, Architects.

that the specimens of it which he commends to your admiration are the

work of architects of “Eastern” birth or training. Now, if not in Dickens’s
time, the “man of Boston raisin’ ” is recognized in the West to have his
uses. The question whether there is any American architecture is not yet so
triumphantly answered that it is other than provincial to lay much stress on
local differences. The general impression that the Eastern observer derives
from Western architecture is the same that American architecture in general
makes upon the European observer; and that is, that it is a very much
emancipated architecture. Our architects are assuredly less trammelled by
tradition than those of any older countries, and the architects of the West are
even less trammelled than those of the East. Their characteristic buildings
show this characteristic equally, whether they be good or bad. The towering
commercial structures that are forced upon them by new conditions and
 DWELLINGS IN ST. PAUL.
Wilcox & Johnson, Architects.

facilities are very seldom specimens of any historical style; and the best and
the worst of these, the most and the least studied, are apt to be equally hard
to classify. To be emancipated is not a merit; and to judge whether or not it
is an advantage, one needs to examine the performances in which the
emancipation is exhibited. “That a good man be ‘free,’ as we call it,” says
Carlyle, in one of his most emphatic Jeremiads—“be permitted to unfold
himself in works of goodness and nobleness—is surely a blessing to him,
immense and indispensable; to him and to those about him. But that a bad
man be ‘free’—permitted to unfold himself in his particular way—is,
contrariwise, the fatallest curse you could inflict upon him; curse, and
nothing else, to him and all his neighbors.”
There is here not a question of morals, but of knowledge and
competency. The restraints in architecture of a recognized school, of a
prevailing style, are useful and salutary in proportion to the absence of
restraint that the architect is capable of imposing upon himself. The secular
tradition of French architecture, imposed by public authority and inculcated
by official academics, is felt as a trammel by many architects, who,
nevertheless, have every reason to feel grateful for the power of design
which this same official curriculum has trained and developed. In England
the fear of the archæologists and of the ecclesiologists operated, during the
period of modern Gothic at least, with equal force, though without any
official sanction. To be “ungrammatical,” not to adopt a particular phase of
historical architecture, and not to confine one’s self to it in a design, was
there the unforgivable offence, even though the incongruities that resulted
from transcending it were imperceptible to an artist and obvious only to an
archæologist. A designer thoroughly trained under either of these systems,
and then transferred to this country as a practitioner, must feel, as many
such a practitioner has in fact felt, that he was suddenly unshackled, and
that his emancipation was an unmixed advantage to him; but it is none the
less true that his power to use his liberty wisely came from the discipline
that was now relaxed. The academic prolusions of the Beaux Arts, or the
exercises of a draughtsman, have served their purpose in qualifying him for
independent design. The advocates of the curriculum of the English public
schools maintain that,

PORCH IN ST. PAUL.

A. H. Stem, Architect.

obsolete as it seems, even the practice of making Latin verses has its great
benefits in imparting to the pupil the command of literary form and of
beauty of diction. There are many examples to sustain this contention, as
well as the analogous contention that a faithful study and reproduction of
antique or of mediæval architecture are highly useful, if not altogether
indispensable, to cultivate an architect’s power of design. Only it may be
pointed out that the use of these studies is to enable the student to express
himself with more power and grace in the vernacular, and that one no
longer reverts to Latin verse when he has really something to say. The
monuments that are accepted as models by the modern world are
themselves the results of the labors of successive generations. It was by a
secular process that the same structural elements employed at Thebes and
Karnac were developed to the perfection of the Parthenon. In proportion to
the newness of their problems it is to be expected that the efforts of our
architects will be crude; but there is a vast difference between the crudity of
a serious and matured attempt to do a new thing and the crudity of mere
ignorance and self-sufficiency. Evidently the progress of American
architecture will not be promoted by the labors of designers, whether they
be “Western” or “Eastern,” who have merely “lived in the alms basket” of
architectural forms, and whose notion of architecture consists in
multiplying “features,” as who should think to enhance the expressiveness
of the human countenance by adorning it with two noses.
One cannot neologize with any promise of success unless he knows what
is already in the dictionary; and a professional equipment that puts its
owner really in possession of the best that has been done in the world is
indispensable to successful eclecticism in architecture. On the other hand, it
is equally true that no progress can result from the labors of architects
whose training has made them so fastidious that they are more revolted by
the crudity of the forms that result from the attempt to express a new
meaning than by the failure to make the attempt, and so conceal what they
are really doing behind a mask of historical architecture, of which the
elegance is quite irrelevant. This latter fault is that of modern architecture in
general. The history of that architecture indicates that it is a fault even more
unpromising of progress than the crudities of an emancipated architecture,
in which the discipline of the designer fails to supply the place of the
artificial check of an historical style. It is more feasible to tame exuberances
than to create a soul under the ribs of death. The emancipation of American
architecture is thus ultimately more hopeful than if it were put under
academic bonds to keep the peace. It may freely be admitted that many of
its manifestations are not for the present joyous, but grievous, and that to
throw upon the individual designer the responsibility withheld from a
designer with whom fidelity to style is the first duty is a process that fails
when his work, as has been wittily said, “shows no more self-restraint than
a bunch of fire-crackers.” But these papers have also borne witness that
there are among the emancipated practitioners of architecture in the West
men who have shown that they can use their liberty wisely, and whose work
can be hailed as among the hopeful beginnings of a national architecture.

THE END

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FOOTNOTES:
[A] Of course this needs modification, since the mediæval buildings of Italy were
accessible to the designers of the Renaissance. What I suppose I had in mind was to
point out that they had no knowledge of the original Grecian monuments, from which
the classical Roman architecture was derived.
[B] “Recent Building in New York,” 1883.
[C] Died 1883.
[D] See illustration, page 39.
[E] The alternative of a domical construction is not here considered, though it was
adopted in that one of the designs for the Cathedral of New York that was chosen for
further development. The competitive design could not be accepted as a solution of
the problem, since the domed interior was masked, instead of being expressed, by the
exterior.
 [F] See Mr. Charles Herbert Moore’s excellent “Development and Character of
Gothic Architecture,” published since this paper was written; a work which no student
of Gothic or of cathedral-building can afford not to read.
[G] See illustration, p. 75.
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