“It would—cost an awful lot.”
“I'll manage. I'll manage. . . What made you decide on architecture?”
“I don’t know, exactly. The new buildings at the university—Gothic, you know—are such a contrast to the old. Then Paula and I were talking the other day. She hates their house on Prairie—terrible old lumpy gray stone pile, with the black of the I. C. trains all over it. She wants her father to build north—an Italian villa or French chateau. Something of that sort. So many of her friends are moving to the north shore, away from these hideous south-side and north-side Chicago houses with their stoops, and their bay windows, and their terrible turrets. Ugh!”
“Well, now, do you know,” Selina remonstrated mildly, “I like 'em. I suppose I’m wrong, but to me they seem sort of natural and solid and unpretentious, like the clothes that old August Hempel wears, so squarecut and baggy. Those houses look dignified to me, and fitting. They may be ugly—probably are—but anyway they’re not ridiculous. They have a certain rugged grandeur. They’re Chicago. Those French and Italian gimcracky things they—they’re incongruous. It’s as if Abraham Lincoln were to appear suddenly in pink satin knee breeches and buckled shoes, and lace ruffles at his wrists.”
Dirk could laugh at that picture. But he protested, too. “But there’s no native architecture, so what’s to be done! You wouldn’t call those smoke-blackened old stone and brick piles with their iron fences and
