The MagazineThe Firm of ArtMcKim, Mead, White and America’s designApr 25, 2011, Vol. 16, No. 31
• By EDWARD SHORT
 Triumvirate  Stanford White Hulton Archive / Getty Images McKim, Mead and White: Art, Architecture, Scandal and Class in America’s Gilded Age by Mosette Broderick Knopf, 608 pp., $40 Trying to imagine New York without the architecture of McKim, Mead, and White is like trying to imagine Paris without the architecture of Baron Haussmann. Of course, a good deal of that architecture is gone. We no longer have the wonderful old Pennsylvania Station that McKim modeled after the baths of Caracalla, or the Madison Square Garden that White based on the Cathedral of Seville, or the whimsical Herald Building that White modeled after the Loggia del Consiglio in Verona. But we do have the Metropolitan Club, the University Club, the Post Office, the Villard Houses, the Municipal Building, the Metropolitan Museum, and Washington Square Arch, to name only some of the firm’s New York buildings. Without these, New York might still have some modest claim to architectural distinction, but it would have lost its greatest monuments to that acquisitive swagger that defined the Gilded Age. In Triumvirate: McKim, Mead and White: Art, Architecture, Scandal and Class in America’s Gilded Age, Mosette Broderick revisits the three distinctly different personalities that founded the firm to show how their complementary strengths transformed architecture not only in New York but in all America at a time when the country was ripe for an aesthetic reawakening. To read more, you must be a Weekly Standard Subscriber We're Sorry,
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